Hindi
Centre earnings from IFFI in Goa far short of expectations
NEW DELHI: The Central Government earned a sum of Rs 8.32 million through registration of delegates from 2004 (when the International Film Festival of India moved to Goa) to 2011, despite claims of increasing number of delegates year after year..
The Central Government has spent a sum of Rs 153.948 million between 2009-10 and 2012-13 through the 11th Plan Scheme of Export Promotion through Festivals in India and overseas and the 12th Plan Scheme of Development, Communication and Dissemination of Film Content.
In addition, the Tourism Ministry of the Central Government also contributed a sum of Rs 23.93 million towards IFFI 2011, according to Information and Broadcasting Ministry sources.
The sources said that the funds allocated by it for the IFFI had risen from Rs 27 million in 2009-10 to Rs 60 million in 2012-13.
However, the sources said that IFFI was not aimed at earning profit but at promoting Indian cinema and film culture.
According to information furnished by the Entertainment Society of Goa, the Goa Government earned a total of Rs 84.258 million between 2004 and 29 November this year.
The Goa Government spent a sum of Rs 29.0835 million between 2009 and 29 November 2012.
Hindi
Remembering Gyan Sahay, the lens behind film, television and advertising
From a puppet rabbit selling poppadums to Hindi cinema, he framed it all.
MUMBAI: There are careers, and then there are canvases. Gyan Sahay, the veteran cinematographer, director, and producer who passed away on 10 March 2026 in Mumbai, had one of the latter. Over several decades in the Indian film and television industry, he turned lenses, lights, and the occasional puppet rabbit into something approaching art.
A graduate of the Film and Television Institute of India (FTII) in Pune, Sahay built his reputation as a director of photography across a career that stretched from the early 1970s all the way to the digital age. He was the kind of craftsman who understood that a well-composed shot is not merely a technical achievement but a quiet act of storytelling.
For most Indians of a certain age, however, Sahay will forever be the man behind the rabbit. His direction of the iconic long-running television commercial for Lijjat Papad, featuring its now-legendary puppet bunny, gave the country one of its most cheerfully persistent advertising images. It was the sort of work that sneaks into the national subconscious and takes up permanent residence.
His big-screen credits as cinematographer include Anokhi Pehchan (1972), Pagli (1974), Pas de Deux (1981), and Hum Farishte Nahin (1988). In 1999, he stepped behind a different kind of camera altogether, making his directorial debut with Sar Ankhon Par, a drama that featured Vikas Bhalla and Shruti Ulfat, with a cameo by Shah Rukh Khan for good measure.
On television, Sahay was particularly prized for his command of multi-camera production setups, a skill that made him a go-to technician for large-scale shows and reality programmes. In an industry that has never been especially patient with complexity, he was the calm hand on the rig.
In later life, Sahay turned teacher. He participated regularly in masterclasses and Digi-Talks, often hosted by organisations such as Bharatiya Chitra Sadhna, sharing hard-won wisdom on cinematography, the comedy of timing in a shot, and the sweeping changes brought by the shift from celluloid to digital. He was also said to have been involved in a project concerning a biographical film on Infosys co-founder N.R. Narayana Murthy.
Tributes from the film industry poured in following the news of his passing, with colleagues remembering him as a senior cameraman who served as a rare bridge between two entirely different eras of Indian cinema. That is, perhaps, the finest thing one can say of any craftsman: he kept up, and he brought others along with him.
