MAM
IAA to host summit on ‘Gender Sensitisation In Media: Voice Of Change’
Mumbai: International Advertising Association (IAA), India chapter is hosting a summit on Gender Sensitisation In Media on the 29 July at ITC Maratha, Andheri, Mumbai.
The theme is Gender Portrayal across the creative spectrum from a 30 seconds TVC to a three Hour film. Prominent voices of the industry will be speaking on why it is of paramount importance to ‘break the bias’ that surrounds the industry when it comes to gender depiction.
The summit shall witness prominent industry bodies and partners such as like ASCI, UNICEF, Tata Institute Of Social Sciences, Unstereotype Alliance and Akshara Centre along with Chief Guest Poonam Mahajan and prominent voices like Vidya Balan, Deepika Warrier, Monika Shergill, Anupama Chopra, Santosh Desai, Nandita Das, Ranveer Brar, Tista Sen, Anuradha Sengupta and many more.
The Voice Of Change was started as a behaviour change communication initiative which was aimed at addressing the skewed portrayal of gender in the field of advertising and communication with the launch of the ‘Geena Davis’ study with Unicef, in September 2021, the IAA – India took the first step towards effective change. The facts presented in the study, based on the evaluation of more than thousand plus ads, showed a disturbing trend of widespread gender stereotyping and prejudice. Sore truths were discovered about how women and other genders are seen, their abject objectification and pigeon holing.
On the backdrop of such ground-breaking research being done, the IAA has stepped up to bring all this knowledge and more out in the public eye under an umbrella banner through this summit. The aim is to ensure that the discourse reaches the right people and sensitises all creative minds and industry forces to drive palpable change.
IAA aims to sanction change through influential and evocative dialogue to enable effective change.
Speaking about the summit, IAA India president Megha Tata said, “IAA has always brought forward initiatives that are meaningful and gender sensitive, on and off screen and has also been the one who has always taken the lead on this issue in the industry. We felt that it is time for all of us to come together and be the voice of change. We want to address the dialogue of gender discrimination across the media spectrum and hope we will collectively bring much needed change in the system.”
“Over the last decade, women have broken stereotypes in this industry both behind the scenes and on the screen. It’s time we tell more of those stories and break biases. Through this change summit, the IAA brings prominent industry voices to communicate, converge and be the Voices Of Change that we need to empower the narrative,” said IAA Women Empowerment Committee chairperson and Viacom 18 Hindi and Kids TV Network head Nina Elavia Jaipuria.
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.
