MAM
CNN International unveils tourism advertorials to promote India
MUMBAI: More vacationers are likely to choose to wile away their holidays in India rather than other popular tourist countries. CNN International, in an initiative to promote India all around the world in association with the India’s ministry of tourism (MOT), has produced a series of six 60/45/30-seconds advertorials.
CNNI had commissioned Bang Productions Singapore Pte Ltd to produce the series for MOT. The six films, which was unveiled at overseas marketing meet organised by MOT in the Delhi earlier. The vignettes are now being aired on CNN International on a world-wide basis, which kicked off on 22 September and will run uptill March 2007.
India’s travel and tourism market has been valued at US$42 billion in 2005. The vignettes are based on six pillars that include health, modern Art, Golfing Holidays, Hip Hotels, Fashion & Shopping and Heritage in India. The current promotion has more clearly defined these pillars which are in keeping with the viewing audience of CNN International.
The objective of the campaign is to increase the flow of tourists into India from September till end February-early March. The produced advertorials will be running alongside the Incredible India commercial, produced by Bharat Bala Production, according to an official release.
Turner South Asia advertising sales VP Monica Tata said, “India has a lot to offer to the world and through these brilliantly shot six vignettes, we hoped to capture the true essence of a ‘new age India’. We believe that these series of vignettes focus on India as a modern, upmarket, contemporary and unique place. CNN International believes in partnering with clients to offer them the solutions they need across the world.”
“This is in response to the long standing relationship that CNN enjoys with the Ministry of Tourism in India. The ministry has been using CNN to promote Indian tourism globally. The six advertorials are a reflection of the different facets of Indian tourism,” Tata further added.
All the segments have been shot on film and not on Digi-beta or video. The vignettes are based on six pillars and they include:
Health: This segment is hosted by Deepak Chopra MD, acknowledged as one of the world’s greatest leaders in the field of mind body medicine. Deepak Chopra carries the film beautifully from the prayers being offered at the Ghats (shore) of Rishikesh to the Oberoi Wildflower Hall spa (one of the world’s best) ayurveda, meditation and yoga resorts. India is whole – it is holy and it is healing. The vignette depicts the spiritual side of Incredible India.
Modern Art: This segment has been hosted by the international photographer, Frederic Lagrange from New York. The film was shot at various locations in Delhi, including the National Gallery of Modern Art, Garhi Artists Studio and Jantar Mantar. The film also has shots of famous Indian artist, Anjolie Ela Menon. Frederic talks about art and how it is omnipresent in India, on the streets, through movie hoardings, in galleries, through canvases of famous Indian artistes etc.
Golfing Holidays: This vignette has been hosted by India’s top professional golfer, Jeev Milka Singh – the current winner of the China Open Golf Championship, and was filmed at Delhi Golf Club, the DLF Golf and Country Club in Gurgaon to promote ‘Golf Tourism’ in India. It has some beautiful shots of the monuments at the Delhi Golf course, one of the only golf courses in Asia meandering through ancient monuments.
Hip Hotels: This advertorial was shot at the Lake Palace Hotel and Devigarh Fort Palace in Udaipur, and it was hosted by renowned investment guru and author – Dr Mark Mobius from Franklin Templeton Investments. Both hotels have earned a reputation to be one of the world’s best.
Fashion & Shopping: This advertorial was hosted by the US supermodel and actress, Saira Mohan. The segment was shot in Delhi during the India Fashion week, showcasing Indian designers like Tarun Tahiliani, the depth and vision of Indian fashion, jewellery & handicrafts and other fashion/shopping locations around Delhi.
Heritage: This segment was hosted by the renowned Indian Sufi singer, Zila Khan, daughter of late Ustad Vilayat Khan. The film was shot at Taj Mahal in Agra, Fatehpur Sikri, a city made by emperor, Akbar in the late 15th and early 16th century and Agra Fort.
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.
