MAM
TCH 2022: The art of telling authentic brand stories using content
Mumbai: There’s a lot of content available to consumers that is vying for their attention. Brands are finding it difficult to leave a deeper mark on the consumers’ minds with plain vanilla advertising. The mode of brand storytelling has evolved from 30 seconders and one-minute advertisements to creating owned media platforms and content to form an association with the consumer which lasts.
Brands cannot jump blindly into the content-making exercise. First, one has to identify the brand purpose and where the brand is standing with its content. Content is a powerful way to increase the mind share of the brand but if executed poorly it can also go wrong.
At the sixth edition of Viacom18 presents Indiantelevision.com’s The Content Hub Summit 2022 held on Wednesday leading marketers spoke about the role of content in their brand strategy. The session was joined by Dentu international The Story Lab country head Deepak, Godrej Industries and Associate Companies AVP corporate brand and communications Michelle Francis, GroupM India head – branded content and Wavemaker India chief content officer Karthik Nagarajan, Tata Consumer Products head shoppers and customer marketing Sagar Boke, PhonePe director and head of brand marketing Ramesh Srinivasan and OPPO India chief marketing officer Damyant Singh Khanoria. The session was moderated by Viacom18 head branded content Vivek Mohan Sharma.
The industry event is co-powered by Applause Entertainment and IN10 Media Network. Aaj Tak Connected Stream is the association partner. Industry partners are Fremantle India, Hill+Knowlton Strategies, One Take Media, Pratilipi, Pocket FM and The Viral Fever. The Indian Motion Pictures Producers’ Association (IMPPA) is our community partner.
“We have a smartphone launch every second week. When you need to make the consumer realise the unique features of each product there’s a lot of content creation that needs to happen,” remarked OPPO’s Damyant Singh Khanoria. “We solved this problem by enabling creation in the larger community of creators and influencers.”
Another aspect that OPPO realised was to stop looking at its brand ambassadors as celebrities who are endorsing a product but rather as actors to leverage in a storytelling narrative.
“I think it is important to have a healthy appetite for risk as a brand. We started commissioning projects that break the artificial boundaries of how we advertise,” said Khanoria.
OPPO had partnered with the infotainment channel National Geographic to create a series called OPPO Superfactories that turned out to be an excellent piece of branded content, he added. “We want content to be natural and authentic to our brand. An ad is no longer about showing a consumer visiting a store, asking about a product in a three-minute film.”
When Godrej wanted to change its perception to be associated with lifestyle, the challenge, observed Godrej’s Michelle Francis, was that it was perceived as a legacy brand that had been around for many decades. “We thought that we needed to build a community that would advocate for the lifestyle brands of the Godrej group. That’s how we came up with Godrej L’affaire.”
The platform launched a nine-episode web series with actor and comedian Jamie Lever with a seamless integration of Godrej brands. “The content was so authentic that it did not look at branded content in terms of integration,” said Francis.
Whether a brand decides to create its own content is not an either, or question, explained Tata Consumer Products Sagar Boke. He believes it depends on the object and life cycle of the brand. There are advantages to branded content which takes a bit more time to build but connects deeply with the audience. “If you want to build a community around your brand, there’s nothing better than building your own content,” he said. “If you use someone else’s content or a celebrity, it is not going to work.”
Boke further said that if data is part of a brand strategy, then building your own platforms makes a lot of sense to gather first party data on your consumer. This helps the brand create more targeted and sharper advertising communication.
PhonePe’s Ramesh Srinivasan concurred with Boke stating “As a brand we’re trying to cater to India at large. That means we need to be placed where India is in terms of culture. Branded content captures the consumers’ mind space when they want to consume communication. It creates the right context which is key.”
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.
