Hindi
Industry leaders’ thoughts on Independence Day
Independence. We in India have had it for so many years that the India that is emerging does not know what it is like to not be free. For millions, the struggle to get freedom from the British, Portuguese and sundry other rulers are just chapters in their history books. But occasions like Independence Day and Republic Day remind us that we were once subservient and that we overcame bondage and won our freedom.
15 August is the 67th year of our independence. For sure, the Indian flag will be hoisted in neighbourhoods all over India. Smaller flags will be mounted on cars, cycles and bikes. And even smaller ones pinned on our shirt pockets. Patriotic songs will be played out on radio and on TV.
And hopefully for a day we will forget all our complaints against rising prices, economic upheaval, a political and administrative class that is showing little backbone for fair governance and well-being of its citizenry, corruption and the lack of respect that many in India have for women. Hopefully, we will remember the price that was paid for the valuable freedom that we enjoy today. And feel proud to be Indian. We, at indiantelevision.com surely are and even proudly carry it in our name.
Indiantelevision.com‘s young team of journalists spoke to senior professionals from the advertising, broadcasting, cable TV and marketing sectors to get a fix on their feelings on India‘s 67th Independence Day. And also to gather from them on what their favourite patriotic song or movie is. Read on to feel patriotic:
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I am very proud to be an Indian. I think India is a very significant country with many diverse cultures and we have come a long way. In the future, I wish the country to be in a much better shape than what it is currently. Mile Sur Mera Tumhara is my favourite patriotic song and truly depicts the light of Indian culture and unity amongst Indians. |
O&M India executive chairman & NCD Piyush Pandey
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I feel good that we live in an independent country but it shouldn‘t be taken for granted. I‘d like broadcasting to be world class and for journalism to have high standards, credibility and ethics. |
NDTV executive vice chairperson Narayan Rao
 Publicis director, CCO south Asia Bobby Pawar
Yes I am proud and happy as well that I am living in an independent country as an independent man. I really don‘t have any ideas about where the industry is headed. If I did know, then I probably would make millions on it. However, I am very optimistic about the growth in the industry. My favourite movie is my friend‘s Prasoon Joshi‘s film Rang De Basanti and the title song from the same movie is my favourite song. |
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I am proud of being an Indian and happy about it. I think in the coming years the broadcasting industry will evolve as the market evolves. I see many more options on offer for viewers and I see the broadcasting industry only growing further. My favourite patriotic song is the video Ye Mera India by Saleem and Suleiman which is on Animal Planet. |
Discovery Networks Asia Pacific, sr VP & GM, head of revenue, pan-regional ad sales & south asia, Rahul Johri
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I renamed myself from Mukesh to Bharat, when I was in the fourth standard. I fell in love with Manoj Kumar‘s character as Bharat inUpkaar. So when I was filling my form for fifth standard, I renamed myself as Bharat. This is how deeply I feel about India. Though firangi competition is welcome, but in India only Indians will rule. I am among those, who believes in the country. It is in India, that media enjoys the stature of being the fourth pillar. It started with print and went on to books and films. There was a certain independence given to broadcasters, but that was not utilised to the maximum. Though India has done well in a lot of sectors, but growth in media has not been great. We need to break away from daily and weekly competitions to unleash the power of media. My favourite patriotic song is Mere Desh Ki Dharti from the movie Upkaar, I still get all charged up hearing the song. Purab and Paschim was one movie which aptly brought out the power of India, and that is my favourite patriotic movie. |
Zee, chief content and creative officer Bharat Kumar Ranga
 Draftfcb+Ulka advertising ED & CEO Ambi M G Parameswaran
I am proud to be an Indian. And I value my freedom. My favourite patriotic movie is the Tamil film Kappalottiya Thamizhan. |
 Star Den Media Services, CEO Gurjeev Singh Kapoor
We feel proud to be independent and we celebrated Independence Day at our workplace too on 14 August. Everyone was wearing small paper flags across their hearts proudly. We decked up the office with balloons and placed a small flag on every workstation. In broadcasting, freedom of expression is critical and this has rarely happened in the past, but it is witnessing a change. Things have gone through a revolutionary change and kudos to the industry for bringing in this welcome change. I love patriotic movies, but Saat Hindustani (1969) andShaheed (1965) figure among my favourites. |
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I feel good as an Indian. We are living in a democratic country. There are lots of things we need to do to improve. We all have some amount of influence that we can use. We are launching an entire new initiative Bharat Bhagyavita. Our responsibility as media is to inform and empower people with knowledge and make them aware of their rights and encourage them to do something about what‘s going on. Nothing comes to mind. I don‘t go by defining a favourite. Any patriotic song is fine. I like almost all songs. |
Zee News CEO Alok Agrawal
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For me patriotism is a feeling and cannot be defined in a song, though I really love the Hollywood movie ‘Independence Day‘. In the 67th year of Independence, the biggest achievement for India is that it is no longer considered as a developing nation. A lot of Indian companies are now investing in overseas business. Our GDP is robust and we are above world average. I am proud to be an Indian and the reason is its diverse culture. My only concern is that though individually we are progressing, the country collectively isn‘t. Even today 70 per cent of the population lives on 1.50 dollars a day. It makes me sad. The political scenario needs to improve. What is good about the cable and satellite industry is that we are not 10 years behind when we compare ourselves to other countries. We have been making gradual progress and now with DAS, in the next two years we will be up close with the world cable and satellite industry. |
Media Consultant, Sanjeev Hiremath
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As an Indian we feel proud that we had so many great men and women who gave their lives for freedom we enjoy today. Somewhere I think we have failed them and have misused freedom which they got for us. I hope, pray and wish we correct that. For broadcasters, future is shining. Digitisation is beginning of new horizon as our country gets hungry for more entertainment and infotainment. New avenues are discovered and looking at the Indian diaspora and the fact that we are a young nation, the broadcast industry is going to get a major boost. My favourite song is the title track from the film Swades and Kandho Se Milte Hain Kandhe. |
Playtime Creations TV producer Hemal Thakakar
Hindi
GUEST COLUMN: Why film libraries & IPs are the new engines of growth
Unlocking value through catalogue strength and IP synergy
MUMBAI:In a media landscape defined by fragmentation, platform proliferation, and ever-evolving audience behavior, the economics of filmmaking are undergoing a fundamental shift. No longer confined to box office performance, a film’s true value is now measured across an extended lifecycle that spans digital platforms, syndication networks, and global markets. As content consumption becomes increasingly non-linear and algorithm-driven, film libraries and intellectual properties (IPs) are emerging as strategic assets, capable of delivering sustained, long-term returns. For Mohan Gopinath, head – bollywood business at Shemaroo Entertainment Ltd., this transformation signals a decisive move from hit-driven models to portfolio-led value creation. In this piece, Gopinath explores how legacy content, when intelligently repurposed and distributed, can unlock recurring revenue streams, why the interplay between catalogue and original IP is critical, and how media companies can build resilient, future-ready entertainment businesses.
For all these years, we thought that a film is successful if it performs well in theatres. There are opening weekend numbers, box office milestones, and distribution footprints that gave a good picture of how the movie has done commercially and also tell us about its cultural impact. However, there are multiple platforms today, always-on content ecosystem, which has caused a shift. Today, the theatrical performance is not the culmination of a film’s journey but merely the beginning of a much longer and more dynamic lifecycle.
Film libraries today are emerging as high-value, constantly evolving assets that deliver sustained returns well beyond initial release cycles. This becomes a point of great advantage for legacy content owners with diverse catalogues, to shape long-term business outcomes.
According to FICCI-EY, the media and entertainment industry of India achieved a valuation of Rs 2.78 trillion in 2025 which is expected to reach Rs 3.3 trillion by 2028 through a compound annual growth rate of approximately 7 per cent and digital media will bring in more than Rs 1 trillion to become the biggest sector which generates about 36 per cent of overall market revenues.
This shift is the expansion of distribution endpoints. We know how satellite television was once the primary secondary window but today, it coexists with YouTube, OTT platforms, Connected TV, and FAST channels. Each of these platforms caters to distinct audience demographics and consumption behaviors, helping content owners to obtain more value from the same asset across multiple formats.
For instance, films that had great reruns, now find continuous engagement across digital platforms. On YouTube, classic Hindi cinema continues to attract significant viewership, reaching audiences across generations and geographies with remarkable consistency. At Shemaroo Entertainment, this is reflected in our film library shaped over decades as part of a long association with Indian entertainment. From classics such as Amar Akbar Anthony to much-loved entertainers like Jab We Met, Welcome, Dhamaal, Phir Hera Pheri, Dhol, Golmaal, and Bhagam Bhag, many of these titles continue finding new audiences while retaining their place in popular memory. Their enduring appeal reflects how culturally resonant stories can continue creating value over time. Similarly, FAST channels have created curated, always-on environments where catalogue content can continue to thrive through star-led and genre-based programming.
This multi-platform approach has very well transformed films into long-tail IP assets which are capable of generating recurring revenue across advertising, subscription, and syndication models.
The evolution of audience behavior is equally important. Nowadays, it’s more important to find what’s more relative than what’s recent as viewers are more influenced by mood, memories, and algorithmic suggestions than by release schedules. Even if a movie was released decades ago, it can trend alongside a newly released movie, if surfaced in the right context. Thoughtful packaging, whether through festival-based playlists, actor-driven collections, or genre clusters, allows catalogue content to remain dynamic and continuously discoverable. Shemaroo Entertainment has built extensive film libraries over decades and its focus has mostly been on recontextualizing content for the consumption of newer environments. This process doesn’t just include digitization and restoration, but also re-packaging of films as per platforms.
Syndication itself has evolved into a key growth driver. In perspective, when looking at the domestic market, curated content packages continue to find strong demand across broadcast and digital platforms. Meanwhile, in the international market, especially in markets like Middle East, North America and Southeast Asia, the appetite for Indian content is opening up new monetization avenues. Here, the ability to package and position catalogue content effectively becomes as important as the content itself.
Importantly, the need to re-package catalogue content does not diminish the role of new content. In fact, originals and fresh IP are essential to sustaining the long-term value of a film library because they act as discovery engines that bring audiences into the ecosystem, while catalogue content drives depth, retention, and repeat engagement.
This interplay between the “new” and the “known” is what defines a robust content strategy today. While new films generate spikes in consumption, catalogue titles offer familiarity and comfort. These are factors that are increasingly valuable in an era of content abundance and decision fatigue. This is also shaping our strategy, drawing value from both a deep catalogue assets and a growing focus on original IPs to strengthen long-term audience engagement and build more predictable revenue streams.
There is growing recognition that long-term value in entertainment will be shaped not only by how intelligently existing content continues to live, travel and find relevance, but also by how consistently new stories are created to renew that ecosystem. In that sense, film libraries and original IP are not parallel bets, but reinforcing engines of growth. For media companies, the opportunity lies in making these two forces work together, because that is increasingly where more resilient and predictable businesses are being shaped.
Note: The views expressed in this article are solely the author’s and do not necessarily reflect our own.
