Hindi
Centre considering dedicated documentary TV channel: Rathore
MUMBAI: Minister of State for Information and Broadcasting Rajyavardhan Rathore said his Ministry was seriously contemplating a dedicated channel for documentary, short and animation films.
However, he said it was difficult to say at this stage whether it would be a new channel or an existing channel like Doordarshan’s DD Bharati.
Speaking at the inauguration of the 14th edition of Mumbai International Festival for Documentary, Short and Animation Films – MIFF 2016 – which was inaugurated by Maharashtra Chief Minister Devendra Fadnavis, Rathore said that documentaries more than features ‘shake us’ and bring about changes in society.
At the same time, he said that the Films Division, which runs the festival needs to innovate and re-invent itself if it had to remain in the public eye and ‘find a reason to exist.’ Rathore cited that the MIFF was part of that process as it gave new vitality to documentary, short and feature films, which get a strong platform here.
He was particularly satisfied that the Division had taken the bold step of FD Zone, whereby documentary films are being shown in other cities at the same time as MIFF.
Rathore said that the I&B Ministry would continue to make efforts to make things easier for makers of documentary, short and animation films. “The mushrooming of so many news and current affairs channels can be probed to help exhibit these films.
Documentary filmmakers are strong storytellers who move audiences with their films. Digital technology has ushered in a new era in film making and is greatly contributing to the documentary film movement,” he said.
“It is heartening to note that our film makers, despite having great financial hurdles have gone ahead and made excellent films, displaying a mature approach while dealing with social and economic issues. Such films should not remain unseen,” Rathore added.
He also said that the Government was in favour of ensuring that the power and freedom of the filmmaker was not limited by archaic certification laws and referred to setting up of the Shyam Benegal Committee to examine the entire certification process.
Benegal was a Guest of Honour at the inauguration, which also included MIFF brand ambassador Jackie Shroff, Indian Documentary Producers Association president Mike Pandey and Festival director Mukesh Sharma.
Veteran wildlife filmmaker and conservationist Naresh Bedi, who along with his brother Rajesh has been making films for over 45 years, received the V Shantaram Lifetime Achievement Award for his contribution to documentary filmmaking. Filmmaker Kiran Shantaram, who is son of the late V Shantaram, presented the award comprising a trophy, shawl and a cash prize of Rs 5 lakh.
Speaking on the occasion, Fadnavis said that he had offered land to the central government in the Film City in Mumbai for building the long-pending Centre of Excellence in Animation and Gaming. “The state will extend all help in this process,” he said.
Earlier, Benegal said it was sad that while such a prestigious festival was being held, no serious thought was being given to exhibiting and distributing these films. “Ways need to be found to ensure that filmmakers who dabble in the documentary format get their money back to be able to make more films as many are not even able to pay back the loans they took for such films. This is imperative at a time when digital cameras and even cellphones can be used to make films,” he said.
A total of 385 documentaries, short and animation films will be screened during the Festival, which is held every second year in Mumbai. The Festival concludes on 3 February.
The event, organised by the Films Division of the Information & Broadcasting Ministry is supported by the Maharashtra Government.
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.
