Hindi
Trade in music and movies shows decline in digital age, but India moves into top ten cultural exporters
New Delhi, 24 March: Although trade in cultural goods doubled during the period 2004-2013 despite a global recession, there was a decline in both music and movies because of the massive shift among consumers towards web-based services.
Trade in recorded music products, for example, declined by 27 percent from 2004 to 2013, and trade in movies fell by 88 percent during the same period; however, audio-visual services as a whole steadily gained ground.
Despite the downturn in the trade of print products, reflected by the decline in newspapers, books held their ground as an important cultural export in some regions, growing by 20 percent from 2004 to 2013.
A new report from the UNESCO Institute for Statistics (UIS), The Globalisation of Cultural Trade: A Shift in Cultural Consumption–International flows of cultural goods and services 2004-2013, takes an in-depth look at the export and import of cultural goods and services around the world.
“Trade in cultural goods totaled $US212.8 billion in 2013, nearly double the amount in 2004,” said UIS Director Silvia Montoya. “This is further evidence of the critical role cultural industries play in today’s global economy.”
However, India and Turkey moved into the top ten countries among emerging markets and exporters of cultural goods.
From 2004 to 2013 the “dematerialisation”, or the digitisation of products, such as music, movies and newspapers, had an enormous impact on these industries, as their products moved into the realm of cultural services, often sold as web-based subscriptions.
As more and more cultural goods move from the tangible to the digital, the report notes that obtaining accurate data on the flow of these goods is becoming more challenging. Finding new sources of data and cooperation between international organizations in the promotion and improvement of cultural trade statistics, especially in the developing world, will help improve the understanding of the real contribution of the trade in cultural goodsto the global economy.
China is now the lead exporter of cultural goods, followed by the United States. In 2013, the total value of China’s cultural exports was US$60.1 billion; more than double that of the United States at US$27.9 billion.
While the US has lost its position as the top exporter of cultural goods, it remains the top importer of these goods. In general, developed countries play a smaller role in cultural exports, but still dominate imports.
Art and crafts have moved up in the ranking of the ten most traded cultural goods, fueled by gold jewelry — a safe harbour in uncertain times.Gold jewelry exports represented more than $US100 billion in 2013.
Statues, statuettes and paintings also gained ground. Their share of the trade in art and crafts was worth US$19 billion in 2013.
Hindi
Remembering Gyan Sahay, the lens behind film, television and advertising
From a puppet rabbit selling poppadums to Hindi cinema, he framed it all.
MUMBAI: There are careers, and then there are canvases. Gyan Sahay, the veteran cinematographer, director, and producer who passed away on 10 March 2026 in Mumbai, had one of the latter. Over several decades in the Indian film and television industry, he turned lenses, lights, and the occasional puppet rabbit into something approaching art.
A graduate of the Film and Television Institute of India (FTII) in Pune, Sahay built his reputation as a director of photography across a career that stretched from the early 1970s all the way to the digital age. He was the kind of craftsman who understood that a well-composed shot is not merely a technical achievement but a quiet act of storytelling.
For most Indians of a certain age, however, Sahay will forever be the man behind the rabbit. His direction of the iconic long-running television commercial for Lijjat Papad, featuring its now-legendary puppet bunny, gave the country one of its most cheerfully persistent advertising images. It was the sort of work that sneaks into the national subconscious and takes up permanent residence.
His big-screen credits as cinematographer include Anokhi Pehchan (1972), Pagli (1974), Pas de Deux (1981), and Hum Farishte Nahin (1988). In 1999, he stepped behind a different kind of camera altogether, making his directorial debut with Sar Ankhon Par, a drama that featured Vikas Bhalla and Shruti Ulfat, with a cameo by Shah Rukh Khan for good measure.
On television, Sahay was particularly prized for his command of multi-camera production setups, a skill that made him a go-to technician for large-scale shows and reality programmes. In an industry that has never been especially patient with complexity, he was the calm hand on the rig.
In later life, Sahay turned teacher. He participated regularly in masterclasses and Digi-Talks, often hosted by organisations such as Bharatiya Chitra Sadhna, sharing hard-won wisdom on cinematography, the comedy of timing in a shot, and the sweeping changes brought by the shift from celluloid to digital. He was also said to have been involved in a project concerning a biographical film on Infosys co-founder N.R. Narayana Murthy.
Tributes from the film industry poured in following the news of his passing, with colleagues remembering him as a senior cameraman who served as a rare bridge between two entirely different eras of Indian cinema. That is, perhaps, the finest thing one can say of any craftsman: he kept up, and he brought others along with him.
