Hindi
What ails media as a responsible vehicle?
MUMBAI: Is media socially responsible? What are the constituents of social responsibility? Does free speech entails any social responsibility on the part of the speaker? These are some of the questions that were asked in the session entitled “Is media socially responsible: Where does freedom of speech and expression ends, and responsibility begin?” Media personality Pritish Nandy, who moderated the session, clearly maintained that “media has nothing to do with social responsibility,” adding that “freedom is an absolute concept – there‘s either complete freedom with no restrictions or total bondage.” |
Social responsibility is thrust upon the filmmakers by the government. The govt collects taxes from cigarette manufacturers, yet it wants us to stop showing smoking on the screen. The govt makes choices, but most of these choices are hypocritical. In our age, free media is the most reliable vehicle for discovering truths. Bereft of this freedom, media is powerless. The state is not our father or guardian, as filmmakers we are free to do what we want to. He ended, however, on a more tolerant note by saying, “But freedom is an ongoing dialogue, and that‘s why we‘ve to listen to others.” |
In her speech, veteran actress and chairperson of the Central Board of Film Certification (CBFC) Sharmila Tagore discussed the role of the CBFC vis-?-vis films. “India is a multicultural, multilingual and multireligious country. The Constitution guarantees freedom of speech but since society is media dominated the govt is required to purge films of anything that might affect the larger social and cultural unity. This doesn‘t mean, however, that the CBFC intends to stifle creativity.” To bolster her point of view, she said that a great number of movies are full of disturbing images that have a detrimental effect both on the conscious and on the subconscious psyche, and invited the audience to a screening of those movies that the censor board does not certify. “Our responsibility also lies with the marginalised remnants of the society. CBFC acts as an enabling body between producers and audience. Moreover, I don‘t think India is ready for self-regulation; I disagree with Pritish on this point.” Taking issue with Nandy‘s advocacy of absolute freedom, noted filmmaker and Rajya Sabha member Shyam Benegal said, “The censor board is a ‘negative institution‘ – it dictates what you are required to remove. A number of factors act as deterrents when it comes to making a good film. A CBFC certified film can be shown to anywhere in the country. |
He then gave the example of Aaja Nachle, which, despite having a certificate from the censor board, was subjected to much social ado. This incident, according to Benegal, proves that a certificate from the board has lost its meaning. Director Mahesh Bhatt said, “The bedrock of the media and entertainment industry is going away. My first film was banned. When I was 50, the NDA govt banned my film Zakhm. But ironically, when the censored version was released later, the film got a national integration award.” He called the present state of affairs “freedom within the prison” and called for 100 per cent artistic liberty. Reliance Entertainment chairman Amit Khanna said, “Instead of absolute freedom, what we have is absolute anarchy. There‘s anarchy everywhere in govt regulations.” “Social responsibilities come from within. To initiate a healthy dialogue with the people, we need to educate them and dispense with the I&B ministry that imposes restrictions on the media.” Admitting that the media itself has got into “the business of manufacturing news,” he maintained, “Frame a law that‘s conducive for a country like India.” |
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.
