MAM
Print Media: The undeniable edge for engaging parents in marketing higher-education programs
Mumbai: The Print Media industry in India has been an example of resilience and growth, defying global trends and showcasing consistent year-on-year success. Alongside Germany, India stands out as one of the few markets where print media has flourished despite the digital revolution. This remarkable growth can be attributed to several factors that hold significance from both the advertiser’s and the consumer’s perspectives.
In the education industry, connecting with students and their parents presents a unique challenge. While online media undoubtedly provides an excellent platform to engage with students, Print media plays a crucial role in capturing the attention of parents, particularly in non-English reading markets. Regional newspapers, renowned for their focus on local news and events, have garnered immense popularity among readers in the 40 plus age group. By strategically featuring educational institutes alongside such localised content, there is a tremendous opportunity to enhance visibility and resonate with parents.
The recent report by CRISIL reaffirms the positive trajectory for the print media industry in India. According to CRISIL, the revenue of print media is expected to jump by 13 to 15 per cent this year, reaching an impressive Rs 30,000 crore. According to the report, this surge in revenue is primarily driven by higher spending on advertisements by corporates and the government, particularly due to the upcoming elections. This positive outlook translates into increased profitability for the sector, with an expected growth rate of 10 to 14.5 per cent.
The CRISIL report also highlights that customers in India continue to have a preference for print media. Over the past two years, physical newspapers have witnessed an impressive growth of 8 to 10 per cent in subscription revenue. This year, the sector is expected to witness a 5 to 7 per cent jump in subscription revenue, largely driven by moderation in prices. This growth underscores the enduring value that print media holds for Indian readers.
This is in fact great news for the education sector where print media plays a pivotal role in engaging parents and conveying the value proposition of educational institutions. While online media provides an excellent channel to connect with students, print media holds a unique position in capturing the attention and trust of parents. With their localised content and readership in non-English reading markets, regional newspapers present a valuable opportunity for educational institutes to gain visibility among parents and foster meaningful connections.
I firmly believe that print media offers a distinctive avenue to engage with parents and convey the value proposition of educational institutions. The enduring appeal of physical newspapers and their localized content creates a unique bond with readers, enabling educational institutes to forge meaningful connections. By leveraging print media’s credibility and trust, institutions can effectively communicate their offerings and showcase their commitment to academic excellence.
In a country as diverse as India, print media plays a vital role in reaching out to a broad spectrum of readers. While online media caters to the digital-savvy generation, print media acts as a bridge that connects with a more traditional audience. This is especially important when it comes to parents who often rely on print media as a trusted source of information and guidance for their children’s educational journey.
Moreover, print media’s prominence in non-English reading markets cannot be underestimated. In these regions, where a significant segment of the population prefers regional languages, regional newspapers play a crucial role in disseminating news and information. By strategically aligning educational content with regional newspapers, educational institutions can tap into this vast and often untapped market, capturing the attention of parents and fostering a sense of familiarity and trust.
While digital media continues to evolve and offer new avenues for engagement, the resilience and consistent growth of print media in India present an undeniable opportunity for the education sector. By embracing print media as an integral part of their marketing strategy, educational institutions can effectively engage with parents, showcase their unique strengths, and stand out in a competitive landscape.
The author of this article is Narsee Monjee Institute of Management Studies (NMIMS) director of marketing & PR Burzeen Bhathena.
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.
