MAM
Ad Club modifies Effie 2015 Awards format
MUMBAI: The Advertising Club, which will be holding the Effie 2015 Awards on 27 January, 2016, has drawn up a slew of changes to the same keeping in tune with the changing times.
For the first time, entries can now be submitted online. As an acknowledgement to the increasing importance of the startup ecosystem in India, a new category called ‘New Product or Service – Best Campaign for a Start-up’ has been introduced.
The Digital Campaign category too has been redefined into the Integrated Marketing Category – a tacit nod to the evolution of the digital platform as an inclusion rather than extension of an ad campaign.
The growing economic influence of small town India came to the fore as the erstwhile Rural Marketing category has been rechristened as Small Town and Rural Marketing Category. Though not renamed, the Healthcare Category also underwent a redefining exercise, to account for the increasing diversity of the segment. Barring the Best Ongoing Campaign, all other categories will now be eligible to compete for the Grand Effie.
Commenting on these improvements, The Advertising Club president Raj Nayak said, “The Effies is the award that recognizes advertising effectiveness. To be able to do justice to its purpose, it is imperative that we recognize and integrate the changing landscape of advertising in India with the rules of the award. I am confident that the modifications that we’ve introduced this year will further streamline the purpose of Effies with the ground realities of advertising in India.”
2015 Awards chairman Ajay Kakar added, “The advertising industry has grown from strength to strength since its inception in India. Not only has our industry grown in volume but also in terms of geographical spread. It is in recognition of this reality that, for the first time, Effie India will be organizing the first round of judging at Bangalore besides Mumbai & Delhi.”
2015 Awards co-chairman Vikram Sakhuja opined, “What’s new in Effies is your work. Celebrate the fact that you did something creative, analytical, but always accountable. We love madness but love the method underlying even more. If you’ve done something that made you proud chances are we would love to see it. Let it rip.”
The Effie 2015 Awards will be held at the Seaside Lawns, Hotel Taj Lands End in Mumbai. Campaigns that ran in India from 1 October, 2014 to 30 September, 2015 (12 months) are eligible for entry.
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.
