Hindi
Apart from cam-cording, the real menace of online piracy made punishable
Mumbai: The Cinematograph (Amendment) Bill 2023 was passed by the parliament after getting the nod from the Lok Sabha. The Bill was introduced in the Rajya Sabha on 20 July 2023 and passed after discussion on 27 July 2023. The historic bill was passed by the Parliament amending the Cinematograph Act after 40 years as the last significant amendments in the Cinematograph Act, 1952 were made in the year 1984. The landmark bill aims to comprehensively curb the menace of ‘piracy’ causing losses of Rs 20,000 Crores to the film industry, based on certain estimates. The provisions include strict punishment of minimum three months imprisonment and fine of Rs three lakhs which can be extended up to three years imprisonment and fine upto five per cent of the audited gross production cost.
Prime minister Narendra Modi has envisioned that India truly possesses immense potential to become the content hub of the world with rich heritage and cultural diversity being India’s strengths. The union minister for Information and Broadcasting, carrying forward the vision of the prime minister, also recognised the Indian cinema as a significant contributor to India’s soft power, promoting Indian culture, society, and values globally. He said “The empowerment of Indian Film Industry with Ease of Doing Business and its protection from the menace of Privacy, would go a long way in growth of content creation ecosystem in India, and would help safeguard the interests of all artists and artisans working in the sector.”
Talking about the Cinematograph (Amendment) Bill 2023 when it was taken up for consideration and passing in Lok Sabha, the union minister for Information & Broadcasting, Anurag Singh Thakur said, “India is known as a country of story tellers which shows our rich culture, heritage, legacy and diversity. In the next three years our film industry will grow to 100 billion dollars, providing employment to lakhs of people. Keeping the needs of the changing time, we have brought this bill to fight piracy and to further promote the film industry. These amendments will comprehensively curb the menace of ‘piracy’ which is causing losses of Rs 20,000 crores to the film industry.”
Thakur further said, “The government has done away with the requirement to renew film’s license every 10 years and has made it valid for lifetime. Now, there is no need to run around the government offices seeking renewal. Keeping up with the judgement of K.M Shankarappa Vs Union of India case judgement, the government has kept it away from the revision power and now the autonomous body of CBFC will have the full authority to look after it.”
Cinematograph Act Amendment:
First, the Bill attempts to address the issue of unauthorised recording and exhibition of films and curb the menace of film piracy by transmission of unauthorised copies on the internet.
Second, the Bill attempts to improve the procedure for certification of films for public exhibition by the Central Board of Film Certification, as well as improve categorisations of the certifications of the films.
Third, the Bill attempts to harmonise the law with extant executive orders, Supreme Court judgements, and other relevant legislations.
a) Provisions to check unauthorised recording and exhibition of films amounting to piracy: To check film piracy by way of cam-cording in the theatres; and most importantly also prohibit any unauthorized copying and online transmission & exhibition of a pirated copy of any film, strict penal provisions have been incorporated.
b) Age-based certification: Introduction of age-based categories of certification by further sub-dividing the existing UA category into three age-based categories, viz. seven years (UA 7+), thirteen years (UA 13+), and sixteen years (UA 16+), instead of twelve years. These age-based markers would be only recommendatory, meant for the parents or guardians to consider whether their children should view such a film.
c) Aligning with the supreme court judgements: Omission of Revisional Powers of Central Government as per judgment of Supreme Court in the case of K.M. Shankarappa vs Union of India (2000).
d) Perpetual validity of certificates: Removal of the restriction in the Act on validity of certificate for only 10 years for perpetual validity of certificates of Central Board of Film Certification (CBFC).
e) Change of category of film for television: Recertification of the edited film for Television broadcast, as only Unrestricted Public Exhibition category films can be shown on television.
f) Reference to Jammu and Kashmir: Omission of references to the erstwhile State of Jammu and Kashmir in line with the Jammu and Kashmir Reorganisation Act, 2019.
Hindi
New labour codes reshape rules for India’s media & entertainment sector
EY masterclass highlights unified framework, wage redefinition and expanded coverage.
MUMBAI: The new labour codes just rewrote the rulebook for India’s media and entertainment industry because when four old laws become four big codes, even the fine print needs a director’s cut. At the FICCI-EY Media & Entertainment Industry Report launch, EY partners Nirali Goradia and Lakshmi Ranganathan delivered a detailed masterclass on how the labour codes implemented in November 2025 are fundamentally changing the sector. The four consolidated codes Code on Wages, Code on Social Security, Industrial Relations Code, and Occupational Safety, Health and Working Conditions Code have replaced a fragmented set of central and state regulations that existed for decades.
The speakers explained that the new framework brings consistency across all types of establishments and workers. Previously, cine-workers, journalists and other media professionals were governed by separate, narrow laws. Now, definitions have been broadened: “audio-visual worker” now covers everyone involved in film, television, OTT, broadcasting and digital content creation, while “working journalist” extends to digital news platforms.
Key changes include:
- A uniform definition of wages, with at least 50% of total remuneration needing to qualify as wages for calculations like provident fund and gratuity.
- Expanded social security coverage for gig workers, platform workers and project-based freelancers.
- Unified working conditions, safety norms and leave entitlements.
- Simplified compliance through digital filings and a more principle-based approach.
Nirali Goradia emphasised that the codes aim to bring gig workers, freelancers and project-based talent under the social security net, though the exact contribution mechanism for platform workers is still being finalised. She noted that the intent is clear: no worker should be left out of basic protections such as provident fund, ESI, gratuity and safety standards simply because of the nature of their engagement.
Lakshmi Ranganathan highlighted that establishments in the sector must now carefully map their workforce—permanent employees, fixed-term contracts, freelancers and gig workers because different categories attract different obligations. She pointed out that gratuity vesting for journalists remains at three years, but the broader wage definition will impact calculations across the board. Organisations that previously computed contributions on basic salary (often 35-40%) will now need to move to at least 50% of total wages, potentially increasing costs by around 10% on a recurring basis. This change applies retrospectively for gratuity valuation as well, creating immediate balance-sheet implications for many companies.
The panel also discussed how the Occupational Safety, Health and Working Conditions Code has expanded the definition of “manufacturing process” to include digital printing and related activities. This brings more workers under safety and working-condition norms that were previously limited. Additionally, the codes introduce a clearer framework for fixed-term employment contracts, offering organisations flexibility while ensuring such workers receive benefits similar to permanent employees, including gratuity after one year.
One area still evolving is the treatment of platform and gig workers. The Social Security Code recognises this new category, but the exact funding mechanism and contribution structure are awaited. Industry experts expect a dedicated fund where platforms and employers will contribute, from which benefits can be extended to gig workers. Until the schemes are notified, organisations are advised to review their existing contractor and freelancer agreements to assess potential future obligations.
Both partners stressed the need for proactive steps. Companies should:
- Reclassify their workforce based on the new definitions of “employee” and “worker”.
- Review compensation structures to align with the 50 per cent wage threshold.
- Update contracts, especially for project-based and gig engagements.
- Reassess gratuity liabilities and payroll processes.
- Ensure compliance with expanded safety and working-condition requirements.
The speakers noted that while the codes bring much-needed unification and broader coverage, they also demand careful interpretation. The shift from highly prescriptive rules to a more principle-based regime means organisations must build internal frameworks to apply the codes consistently. This is particularly relevant for the media and entertainment sector, where project-based work, freelancers, short-term contracts and gig-style engagements are common.
In an industry that thrives on creativity and agility, the new labour codes are forcing a rewrite of the fine print. What was once a patchwork of rules is now a unified playbook and for media houses, the real plot twist will be how quickly they adapt to keep talent happy, costs manageable and stories flowing. The next few months, as states finalise their rules and schemes are notified, will be critical in determining exactly how this new framework reshapes hiring, compensation and workforce management across the sector.
