MAM
Red Fuse Communications wins Best Mobile Media Agency of the year
MUMBAI: Red Fuse Communications has been awarded the title of ‘Best Mobile Media Agency of the year’ at the Indian Digital Media Awards 2014. The agency was bestowed with a six award win at a platform that recognises, celebrates and encourages work in the digital field of advertising and marketing communications, especially internet, mobile, gaming, social media and the blogosphere.
Red Fuse, WPP’s global full service agency, conceptualised and executed winning campaigns for Colgate-Palmolive. The win today further strengthened its mark in the industry and reinforced the relevance of horizontality in today’s diverse communication challenges.
The agency has been awarded for the exemplary projects in the following categories: gold awards for Best Digital Direct Response Campaign designed for ‘The Great Colgate Pilgrimage’ and Best SEM Strategy for the campaign ‘The Next Door Dentist’. The campaign for ‘The Great Colgate Pilgrimage’ won silver in the category Best Campaign Use of Mobile, while bronze medals for work done in the categories of Best Innovation in Mobile Marketing and Best Use of Social Networks. The awards also recognised Red Fuse’ efforts for ‘The Great Colgate Pilgrimage’ and ‘Smile Camera Action’ campaigns respectively.
Colgate-Palmolive VP-marketing Ajith Babu said, “On behalf of the Colgate team, we would like to congratulate the Red Fuse team for this commendable win. As our partners, they have contributed immensely to innovatively communicate with our consumers. We look forward to many such successful campaigns.”
Red Fuse Communications CEO Shubha George added, “Complex challenges need the most innovative solutions. In India, location-based targeting has been used to primarily target people in the metros and has almost always used text messaging or WAP banner. This was the very first time in India a brand had used location-based voice communication and that too to a roaming rural subscriber. Being recognised and awarded on platforms only encourages us to push the limits and strive for more innovations. Red Fuse and our client Colgate-Palmolive work as true partners and the successful results of the new-age full service agency is here to stay.”
The innovative location-based voice communication campaign has drawn national as well international recognition, with the agency winning several awards at global, regional and national events.
Digital
Content India 2026 opens with a copro pitch, a spice evangelist and a £10,000 prize for Indian storytelling
Dish TV and C21Media’s three-day summit puts seven ambitious projects before an international jury, and two walk away with serious development money
MUMBAI: India’s content industry gathered in Mumbai this March for Content India 2026, a three-day summit organised by Dish TV in partnership with C21Media, and it wasted no time making a statement. The event opened with a Copro Pitch that put seven scripted and unscripted television concepts before an international panel of judges, and by the end of it, two projects had walked away with £10,000 each in marketing prize money from C21Media to support development and international promotion.
The jury, comprising Frank Spotnitz, Fiona Campbell, Rashmi Bajpai, Bal Samra and Rachel Glaister, evaluated a shortlist that ranged from a dark Mumbai comedy-drama about mental health (Dirty Minds, created by Sundar Aaron) to a Delhi coming-of-age mystery (Djinn Patrol, by Neha Sharma and Kilian Irwin), a techno-thriller about a teenage gaming prodigy (Kanpur X Satori, by Suchita Bhatia), an investigative crime drama blending mythology and modern thriller (The Age of Kali, by Shivani Bhatija), a documentary on India’s spice heritage (The Masala Quest, hosted by Sarina Kamini), a documentary on competitive gaming (Respawn: India’s Esports Revolution, by George Mangala Thomas and Sangram Mawari), and a reality-horror competition merging gaming and immersive fear (Scary Goose, by Samar Iqbal).
The session was hosted by Mayank Shekhar.
The two winners were Djinn Patrol, backed by Miura Kite, formerly of Participant Media and known for Chinatown and Keep Sweet: Pray & Obey, with Jaya Entertainment, producers of Real Kashmir Football Club, also attached; and The Masala Quest, created and hosted by Sarina Kamini, an Indian-Australian cook, author and self-described “spice evangelist.”
The summit also unveiled the Content India Trends Report, whose findings made for bracing reading. Daoud Jackson, senior analyst at OMDIA, set the tone: “By 2030, online video in India will nearly double the revenue of traditional TV, becoming the main driver of growth.” He noted that in 2025, India produced a quarter of all YouTube videos globally, overtaking the United States, while Indians collectively spend 117 years daily on YouTube and 72 years on Instagram. Traditional subscription TV is declining as free TV and connected TV gain ground, forcing broadcasters to innovate. “AI-generated content is just 2 per cent of engagement,” Jackson added, “highlighting the dominance of high-quality human content. The key for Indian media companies is scaling while monetising effectively from day one.”
Hannah Walsh, principal analyst at Ampere Analysis, added hard numbers to the picture. India produced over 24,000 titles in January 2026 alone, with 19,000 available internationally. The country now accounts for 12 per cent of Asia-Pacific content spend, up from 8 per cent in 2021, outpacing both Japan and China. Key exporters include JioStar, Zee Entertainment, Sony India, Amazon and Netflix, delivering over 7,500 Indian-produced titles abroad each year. The top importing markets are Saudi Arabia, the UAE, Egypt, the United States and the Philippines. Scripted content dominates globally at 88 per cent, with crime dramas and children’s and family titles performing particularly strongly.
Manoj Dobhal, chief executive and executive director of Dish TV India, framed the summit’s ambition squarely. “Stories don’t need translation. They need a platform, discovery, and reach, local or global,” he said. “India produces more movies than any country, our streaming platforms compete globally, and our tech and creators win international awards. Yet fragmentation slows growth. Producers, platforms, and tech move in different lanes. We need shared spaces, collaboration, and an ecosystem where ideas, technology, and people meet. That is why we built Content India.”
The data, the pitches and the prize money all pointed to the same conclusion: India is not waiting for the world to discover its stories. It is building the infrastructure to sell them.
