Outline and Evaluate One Biological Therapy for Schizophrenia

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Project topics †Journal of Engineering Research and Studies Essay

Journal of Engineering Research and Studies E-ISSN0976-7916 Research Paper SEPARATION OF OIL AND PECTIN FROM ORANGE PEEL AND STUDY OF EFFECT OF pH OF EXTRACTING MEDIUM ON THE YIELD OF PECTIN Shekhar Pandharipande*a, Harshal Makodeb Address for Correspondence *a- Associate Professor, Department of Chemical Engineering, Laxminarayan Institute of Technology, Rashtrasant Tukdoji Maharaj Nagpur University, Bharat Nagar, Amravati Road, Nagpur,India. b B. Tech student, Department of Chemical Engineering, Laxminarayan Institute of Technology, Rashtrasant Tukdoji Maharaj Nagpur University, Bharat Nagar, Amravati Road, Nagpur, India. ABSTRACT An orange, specifically, the sweet orange (Citrus sinensis (L.)) is the most commonly grown tree fruit in the world. The present work addresses to the development of the part of the process needed for the extraction of value added products like orange oil and pectin from orange peel, which is the waste of orange juice processing industry. The outcome of the present work highlighted that the sweet orange peels are good source of orange oil and pectin and does have the potential to become important raw material for food processing industries. Two methods namely simple distillation & leaching have been explored for separation of oil from peels. The remains of cake in this part is further treated for isolation of pectin. It is found from the experimental observations that the peel source, for extraction of pectin, when taken after extracting orange oil through simple distillation gives higher yield than leaching residue. It is concluded that the process in which orange oil is first extracted using technique of simple distillation followed by acid extraction of pectin is most suitable for industrial production for isolation of pectin. These results demonstrate the successful extraction of orange oil and pectin, providing potential benefits for  industrial extraction of pectin from an economic and environmental point of view. KEYWORDS orange peel, pectin extraction, orange essential oil 1.1 INTRODUCTION An orange, specifically, the sweet orange (Citrus  sinensis (L.)) is the most commonly grown tree fruit  in the world. Orange trees are widely cultivated in  tropical and subtropical climates for the sweet fruit,  which is peeled or cut (to avoid the bitter rind) and  eaten whole, or processed to extract orange juice, &  also for the fragrant peel. Citrus fruits are at the top  not only in total production, but also in economic  value. The albedo is the main source of pectin. Pectin  includes all the esterified polygalacturonic acids at  different degree of neutralization. In the presence of  saccharine and small quantities of organic acids  (usually citric acid), pectins gelatinized, and this  property is exploited by the agrochemistry and  pharmaceutical industries for pectin isolation. Orange  essential oil is present in small ductless gland  contained in the peel of the orange fruits. The main  constituent of orange peel essential oil is d-limone ne  (present to the extent of at least 90 %), which is the  only hydrocarbon present. The d-limonene is  extracted from orange rinds or solids. The rinds and  pulp are sent to an evaporator and the d-limonene is  steamed out. It is widely known for its pleasant scent  and degreasing properties. d-limonene is currently  being used in many applications such as chlorinated  solvents replacements, hand cleaners and sewage  treatments. The orange processing industry can get a  complete makeover if due importance is given for  separation of useful ingredient from orange peel.  Researchers and Scientists have been working on the  separation of oil and pectin from orange peel and  reporting their findings in journals of repute. A brief  summary includes orange peel: organic waste or  energetic resource(1), Waste to wealth: Industrial raw  materials potential of peels of Nigerian sweet orange  (Citrus sinensis)(2), method of distilling a volatile  constituent from liquid mixture(3), Optimization of  pectin acid extraction from passion fruit peel  (Passiflora edulis flavicarpa) using response surface  methodology(4), Extraction and Qualitative Assessment of African Sweet Orange Seed Oil(5), JERS/Vol. III/ Issue II/April-June, 2012/06-09 Comparisons between different techniques for waterbased extraction of pectin from orange peels(6) , microwave-assisted Isolation of essential oil of  Cinnamomum iners Reinw. ex Bl.: Comparison with  Conventional hydrodistillation(7), Microwave-assisted  extraction of pectin from orange peel(8), microbial  production of pectin from Citrus peel(9), Optimization  of Pectin Extraction from Peel of Dragon Fruit  (Hylocereus polyrhizus)(10), Determining the Yield  and Quality of Pectin from Fresh Peel & Pectin  Pomace(11) and Microbial Production of Pectin from  Citrus Peel(12) . The present work (13) explored the possibility of  separation of essential oils and pectin from the  orange peels. Nagpur is major orange producing  centre in the subcontinent and even recognised in the  name of oranges as, Orange city. 1.2 MATERIALS AND METHODS: The present work is divided into following parts: I. Separation of oil from peels. a) Using the method of simple distillation b) Using ethanol as solvent in the method of leaching II. Extraction of pectin from oil peels a) From fresh peels, the leftover b) From dried cake remained after simple distillation and leaching as in part I 1.2.1 Separation of oil from peels: Raw Material: The raw material taken under examination for the extraction of orange oil (d-limonene) and pectin is orange peel. Orange peels are removed from fresh oranges which are procured from local market and which were harvested in the month of December 2011 to January 2012. Methods: Simple distillation is employed for removal of essential oil from orange peel. Dried and fined ground orange peel powder is added with known quantity of water which is simple distilled off for approximately one hour. The solid remains of the residue are dried to obtain the dry cake. The distillate Journal of Engineering Research and Studies E-ISSN0976-7916 resulted in to two phases, oil and water. Two phases  are separated and orange oil is obtained. For 350 gm  of orange powder taken, 8 ml of oil and 126.3 gm of  dried cake is obtained. The method of leaching is also explored for removal  of oil from peels. 380 gm of fresh orange peel are extracted with 225 ml of ethanol. After adequate  contacting, two phases, solid and liquid are separated,  198 gm of wet slurry resulted into 150 gm of dry  cake. However oil could not be recovered following  this method. The dried cake obtained is further  treated for separation of pectin in next part of present  work.  1.2.2 Extraction of pectin from orange peels:  The objective of this part of work is extraction and  isolation of pectin from fresh orange peel sample and  the dry cake sample left after extraction of oil using  simple distillation as in part I. The objective includes  the study of the effect of pH of the medium on the  yield of pectin extracted. The process flow chart is as shown in the figure 1. Table no 1: Experimental observations of yield of pectin at different pH Fig no 1: Process flow chart for extraction of pectin from orange peel sample Citric acid in distilled water solutions of desired pH  values 1, 1.5, 2, 3, 4 and 5 are prepared. Orange peel samples weighing 10 gm each are dipped in to the  solution and heated at 800C for 10 minutes. After  cooling the solution, it is filtered using cloth filter  and Whatman filter paper under vacuum. Ethanol is  added to the filtered solution to facilitate filtration of  pectin. The solution is filtered using fine filter cloth  or centrifuge at 8000 rpm for 15 min at 100C to  separate jelly pectin which is dried under vacuum at  500C and -100 mmHg gauge for two hours. Dried  pectin is thus obtained. The observations are given in  table no 1.  Yield % of pectin is based on the gram of peel sample taken, and is calculated by formula as given below; Fig no 2: Pectin yield at different pH of extracting medium 1.2.2.1: Comparison of yield of pectin from the dry cake residue left after simple distillation and leaching: Same procedure is applied for separation of pectin in  this part of present work, as followed in part 1.2.2.the  observations are tabulated in table 2 & pictorial  details & output of process are depicted in fig 3. Table no 2: Experimental observations of  comparison of yield of pectin from the dry cake  residue left after simple distillation and leaching  where Ypec (%) is the extracted pectin yield in per cent (%), P is the amount of dry pectin in g and Bi is the initial amount of orange peel in gram. Results and discussion: The maximum yield of pectin is obtained at   extraction medium pH of 1. However negligible yield  is obtained at pH of 4 and 5 as can be seen from  graph plotted between pectin yield % obtained for  various values of pH of medium as shown in fig 2. JERS/Vol. III/ Issue II/April-June, 2012/06-09 Journal of Engineering Research and Studies Result and discussion: The yield of pectin obtained is highest in turbid  extract, but this might be due to some suspended  impurities present in the extract. The maximum  overall yield of the pectin is obtained from orange  peel residue sample through simple distillation. Therefore, in the process of orange oil and pectin  extraction from orange peel, it is recommended on  basis of results obtained, that to first extract oil using  simple distillation and then isolate pectin with acid  hydrolysis technique. 1.3 CONCLUSION Nagpur region is well known in central Asia as  largest orange producing region. It is also known as  the California of India, producing excellent quality  oranges in large number. Though it has great  production of oranges, the downstream processing  and value added product manufacturing technology is  not yet developed. The present work is dedicated for E-ISSN0976-7916 the development of the part of the process technology  needed for the extraction of value added products i.e.  orange oil and pectin from orange peel, which is the  waste of orange juice processing industry. The  present work revealed that the sweet orange peels are  good source of orange oil and pectin and does have  the potential to become important raw material for  food processing industries. It is found from the  experimentation that the peel source, for extraction of  pectin, when taken after extracting orange oil through  simple distillation gives higher yield than leaching  residue. So it can be concluded that the process in  which orange oil is first extracted using technique of  simple distillation followed by acid extraction of  pectin is most suitable for industrial production. These results demonstrate the successful extraction of  orange oil and pectin, providing potential benefits for  industrial extraction of pectin from an economic and  environmental point of view. Fig no 3: Pictorial presentation of the process for comparison of yield of pectin from the dry cake residue left after simple distillation and leaching Amboni. (2009). optimisation of pectin acid extraction REFERENCES 1. 2. 3. 4. Martà ­n M.A, Siles J.A.1, El Bari H, Chica A. F, Università © Ibn Tofail. Facultà © dos Sciences. Kenitra (Maroc) .(2008). Orange Peel: Organic Waste or Energetic Resource? Tobias I. Ndubuisi Ezejiofor, N. V. Eke, R. I. Okechukwu, R. N. Nwoguikpe and C. M. Duru. (2011) Waste to wealth: Industrial raw materials potential of peels of Nigerian sweet orange (Citrus sinensis). African Journal of Biotechnology Vol. 10(33), pp. 6257-6264. Gorden P. Gerow, Davenport, Fla.(1982). Method Of Distilling A Volatile Constituent From Liquid Mixture. United States Patent, 4,326,926. Erika Kliemann, Karina Nunes de Simas, Edna R. Amante, Elane Schwinden Prudeˆncio, Reinaldo F. Teo ´ filo, Ma ´ rcia M. C. Ferreira & Renata D. M. C. JERS/Vol. III/ Issue II/April-June, 2012/06-09 5. 6. 7. from passion fruit peel (Passiflora edulis flavicarpa) using response surface methodology. International Journal of Food Science and Technology, 44, 476–483. Nwobi BE, Ofoegbu O & O B Adesina. (2006). Extraction And Qualitative Assessment Of African Sweet Orange Seed Oil. African Journal of food agriculture nutrition and development. Vol. 6 ISSN 1684-5374. S. Yeoh, J. Shi, T.A.G. Langrish. (2008). Comparisons between different techniques for water-based extraction of pectin from orange peels. Elsevier, Desalination 218, 229–237. Weerachai Phutdhawong, Rungthip Kawaree, Samart Sanjaiya, Waya Sengpracha & Duang Buddhasukh.(2007). Microwave-Assisted Isolation of Essential oil of innamomum iners Reinw. ex Bl.: Journal of Engineering Research and Studies Comparison with Conventional Hydrodistillation. Molecules ISSN 1420-3049 8. Zheng Jie, Yang Ting, Wu Qiang, Li Jing, Wang YaNa. (2009). Microwave-assisted Extraction of Pectin from Orange Peel. Vol. 30, No. 20, p. 134-137. 9. P.Y. Tang, C.J. Wong and K.K. Woo. (2011). Optimization of Pectin Extraction from Peel of Dragon Fruit (Hylocereus polyrhizus). Asian Journal of Biological Sciences, ISSN 1996-3351, Knowledgia Review, Malaysia, 4 (2): 189-195. 10. P. G. Crandall, R. J. Braddock, and A. H. Rouse. (1978). Determining The Yield And Quality Of Pectin From Fresh Peel And Pectin Pomace. Proc. Fla. State Hort. Soc. 91:109-111. 11. Takuo Sakai & Minoru Okushima. (1998). Microbial Production of Pectin from Citrus Peel.Applied and Environmental Microbiology, Vol. 39, No. 4, p. 908912. 12. Harshal Makode (2012).Project report submitted for B Tech to Rashtrasant Tukadoji Maharaj Nagpur University,Nagpur. JERS/Vol. III/ Issue II/April-June, 2012/06-09 E-ISSN0976-7916

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The Adversarial Justice System - Essay Example The adversarial system of justice relies upon four presumptions: First, that the parties are both legally represented; second, that the lawyers are roughly of the same caliber; third, that each parties interest are promoted to the fullest of each adversary’s ability; and fourth, that the court rarely needs to intervene on the interest of the public. (See Zuckerman & Cranston, 1995).  The adversarial process attempts to be fair and just in that the parties that enter the process do have control over initiating the action, clearly outlining the nature of the action through pleadings, exploring the legal framework for which their action falls under, and surveying possible settlements to their actions. Each opposing side is afforded these opportunities in legal proceedings making the adversarial process fair and just. But in criminal cases, the odds are stacked against defendants and since the process is ultimately made up of opposing parties, the adversarial process is not alwa ys fair, just and in the best interest of the public.The Roman Influence in European Law  Legal systems are set up in an adversarial system of justice. This was, in large part, due to the laws and systems set about by Roman rule. European law has a deep rooted history that stems from the adoption and codification of laws and systems that were originally laid out by the Roman Empire. Though there were many interpretations of Roman law throughout the middle ages, and various applications of the law depended largely on the different regions of Europe.

Project design Essay Example | Topics and Well Written Essays - 1250 words

Project design - Essay Example However, packaging of ice cream on commercial basis was always a problem for mass producers. Initially they used to supply the product in cups but in the early 1900 manufacturers identified a strong need of introducing ice cream carriers which were less costly and more productive. John was too frustrated those days because of the increasing raw material cost. He has been into the ice cream manufacturing industry since last twenty years but now he was facing immense difficulty in meeting up all the business expenses while maintaining good profit margins. His company used to do business in the late 19th century and the early 20th century. They had paper cups, glass jars or even plastic boxes in order to store, transport and sell the product. However, due to the changing business scenario and the advancing technology the prices of ice cream carriers raised beyond expectations and hence the major ice cream manufacturers including John’s ice cream had to plan again the entire busin ess strategy. Developing a new business idea so as to cater the needs of customers is very difficult and risky. Ideas can be generated through various sources but the most common and widely applicable source is brainstorming (Bragg). Paper and plastic carriers were very costly, they were incurring huge wastage and the natural environment was becoming contaminated. Considering this scenario and the declining company profits, John called his managing team including supply chain managers, financers, marketers and the advisors. After two months of intense brainstorming and parameter analysis they finally decided to introduce an entirely new ice cream carrier which was not only cost effective and friendly to the environment but it was also the most feasible, interesting, tasty and edible ice cream carrier ever produced. So now John was out of his initial frustration period he knew his need i.e. an ice cream carrier which could be eaten away along with the ice cream. However, the next sta ge was even more difficult as the team of researchers was still uncertain about the exact ingredients they must use to make the carrier eatable and safe to health. One of the advisors analyzed the cooking books to find a recipe for carriers which could easily hold ice cream for a longer time period without melting it away or soaking its moisture. Hence pastries and creams were thoroughly studied but since both of these were naturally soft materials and could not hold ice cream in the required solid form for a considerable time period therefore they were ultimately rejected. Then John evaluated the effectiveness of ice cream carriers made from flour. These were also rejected because of water absorption. Hence the frustration for not being able to implement the business idea was initiated and now John started to spend some more time in kitchen so as to identify the best possible material which could be used as an ice cream carrier. While introducing a new product or even making an inn ovation in the current product range there is significant value of time. Company has to profoundly move from product details, ideas, development, screening and finally the introduction (Fuller). All of these procedures must be followed in a timely manner. But here the time was running fast and the profits were decreasing even faster. It has now been one year that the entire team was evaluating different ice cream carriers. Some of them proved to be highly absorbent while others were too hard to eat

Starbucks Coffee Company Essay Example for Free

Starbucks Coffee Company Essay Executive Summary 1. Starbucks product isn’t only about the goods it provides, but the services and the experience of going to a starbucks as well. 2. Starbucks has two main end user groups, to which Starbucks product has many different aspects that are beneficial to them. 3. SWOT internal analysis reveals strengths of brand image and high standards and weaknesses in over saturation and lack of diversity. Externally, Starbucks has opportunity to expand and diversify to avoid threatening competition and reliance on individual products. 4. Porter’s Five Forces analysis displays threats from high consumer and supplier bargaining power, a large amount of substitutes and a low chance of new competitors although high competition with current competitors. 5. Historically, Starbucks has employed saturation and awareness strategies. 6. Current strategies reflect environmental analysis as Starbucks aims to expand and diversify, as well as raise social awareness and accountability. 7. Starbucks’ competitive advantage draws from its strategies of differentiation, technological advancement and unique atmosphere. Product Description Benefits. Starbucks is an internationally renowned brand, with 20,891 stores in 64 countries. The Starbucks product is not just a range of beverages and food; it is the service, the culture and atmosphere and the sustainability that can be expected in all of its stores. Starbucks represents this in their mission statement: to inspire and nurture the human spirit – one person, one  cup and one neighbourhood at a time. The more obvious part of the product is the coffee as well as other drinks and food, but another significant part of Starbucks product is it’s goals in caring for its community and being an ethical and environmentally friendly corporation. Starbucks’ large market share can be accounted to specifically targeting two main end-user groups and catering the product to their needs. Customers both male and female ages 25-40 make up for a massive 49% of Starbucks total business. Judging by their age we can assume these consumers are most likely working with greater disposable income, and we can assume working people are often busy travelling and on the go. These ages are also typical of people with new families. Another target audience is young adults aged 18-24 who make up 40% of Starbucks total business. Commonly people this age are studying, travelling, and enjoy socialising and hanging out. Generally judging on the age group they will have less income and if they are students they may have no job or only have part time work. The brand image of Starbucks plays a strong part in appealing to consumers. Starbucks’ brand image symbolises wealth and status. Starbucks utilises this by targeting the working adult and creating loyalty to its brand. Starbucks also appeals to young people as they have a strong brand image of being, quite simply, cool. Through many of the benefits of Starbucks we can understand how loyalty is an important role in why it’s customers prefer it to other cafes.There are many Starbucks cafes worldwide, and wherever you are in the world you know what to expect when you walk into a Starbucks cafà ©. Starbucks has a strong sense of consistency throughout its branches, from the menu, to the service and often the appearance of the cafà ©. This makes Starbucks a welcoming and a familiar place wherever you are buying coffee.They also benefit their consumers by being so widely available making it easy to find a Starbucks. Consequently, it is beneficial to travelling and working people who can find a Starbucks in unfamiliar places, providing the coffee and service they know and enjoy. The cafà © itself is part of the service; customers have the option to sit and stay or takeaway as it suits them. The cafà © provides a  great meeting place for young adults to socialize or study and also benefits adults who need to work, meet people or get something to eat or drink during the day. There is free Wi-Fi available which is especially appealing to young people for both study and social networking as well as beneficial to older consumers with work to attend to. Starbucks meets a range of consumer needs by having a very large variety of drinks available, and customisation is a significant part of their appeal to consumers with 87,000 different drink combinations. Because they have such a large variety, they have an option for nearly anybody and this makes Starbucks more appealing over other coffee shops. Young adults have a greater partiality to customisation, as they appreciate having many choices of different flavours and combinations. Older consumers, especially those on the go, often know what they want to order (e.g. trim flat white, long black) but benefit from the consistent menu, which always has their drink available. Loyalty is gained not only from the consistency of high quality products and service to the customers but also from the way in which Starbucks values the community and environment. Howard Schultz, CEO of Starbucks Coffee summed up what makes Starbucks successful in saying â€Å"we have no patent on anything we do and anything we do can be copied by anyone else. But you cant copy the heart and the soul and the conscience of the company.† Company’s International Strategy Starbucks is clearly a leading coffee branch that has been very successful over the past 30 years, with its constantly growing market share. However, in order to further develop a company, they must first assess their internal and external environment to evaluate the organisation’s current position. Internal and external assessment provides an opportunity for an organisation to plan, implement and evaluate their operations. SWOT analysis helps to assess the company’s internal strengths and weaknesses as well as their external opportunities and threats. Starbucks’ strengths are high quality coffee beans, strong brand image, excellent employee management, power within the industry, and unique strategy. Starbucks is one of the most powerful brands in the world (ranked 54th for the world’s most powerful brands by Forbes) and is the most powerful brand in the coffee industry. This prevents new entrants from gaining market share and has helped the organisation to remain competitive. On the other hand, they have some weaknesses; one of the main weaknesses is the fact that the entire business relies on the coffee industry. If the coffee industry faces a hard time, it will have a bad influence on Starbucks directly. One of the main reasons an organisation becomes a Multinational Enterprise is to diversify themselves against the risks and uncertainties of the domestic business cycle. However, Starbucks has over-saturated the US market with more than 3 quarters of their business located in the home market. If their home market goes through a recession, this will have a huge impact on its business. Also, their relatively high coffee price increases competition with low priced brands. After assessing the company’s internal strengths and weaknesses, an organisation then evaluates its external environments. Starbucks may extend their supplier range such as developing new products, not only their coffee but products like health and organic drinks, considering there are emerging groups of people seeking well-being products. They could also expand their business to more countries especially developing countries such as China and India. Regardless of the fact that China has a strong tea culture, Starbucks has been very successful. They currently have more than 600 stores in more than 50 cities in China, yet it is only the beginning. The market share for Starbucks is still growing however, compared to past years; it is not doing so well. The main reason for this is because of the new competitors who entered the market, for example, launch of McCafe from McDonald’s. Increased competition and competitors resulted in a higher bargaining power of buyers that lowers the market price for coffee which made it even harder for a brand who sell expensive, high quality coffees, to compete in the market. Starbucks coffees’ main ingredients are coffee beans and milk. A rise of coffee bean and dairy product prices, as a result of various non-government activities, have a strong influence on the company which may result in a  significant drop in their market share. As mentioned above, Starbucks was successful in China. Though copyright law in China is vulnerable and trademark infringement is a huge problem for all companies who are operating in China. Finally, while the earnings in the US and China remains strong, the profit from the European market has fallen due to a different regional tastes and coffee culture that resulted in a just recognisable increase in total revenue. Overall, these are Starbucks’ internal and external environments assessed using SWOT analysis. Starbucks should work through their weaknesses and threats especially their decreasing customer base due to increased competitors. Also, they should create or develop their competitive advantages through their strengths and opportunities. Furthermore, another method that helps to assess for the external environment is ‘Porter’s Five Forces Analysis’. It is a strategic tool that is used to analyse the level of competition within an industry. There are five stages to assess: bargaining power of buyers, bargaining power of suppliers, threat of new entrants, threat from substitutes, and rivalry among existing competitors. The bargaining power of buyers is high due to an increasing number of influential competitors and the fact that there are no or minimal switching costs to other companies. No or minimal switching costs means a customer can switch to its competitors easily and a growing number of competitors means that there are even higher chance of a customer switching to other companies. The degree of threats of new entrants depends much on its location for example, markets such as UK and US are already highly saturated and as such there are limited chances of a company entering the market. Also, due to the substantial amount of financial resources associated with buildings and property being required to enter the market, the threat of new entrants to the industry to compete with Starbucks is low. The bargaining power of suppliers is also very high. The world demand for coffee is fierce and coffee beans are available only in certain geographical areas such as, Africa, Latin America and some parts of Asia. There are a wide range of substitute products for Starbucks or their coffee including tea, soft drinks, water, juice and energy drinks. This, combined with an increasing focus on the negative effects of caffeine from media and among consumers, increases the percentage of consumers switching to its substitute  products. Also, there are locational substitutes such as pubs and bars where groups of people can gather and spend time away from their house and work environments. Overall, due to an increased number and power of its competitors, especially, McDonald’s (McCafe), Caribou Coffee and Dunkin Donuts, as well as many others from small local coffee shops to large global brands, the rivalry among existing competitors is very high. Unlike the early 90’s where Starbucks begun to expand, there are copious numbers of influential competitors in the market all over the world resulting in very high competition within the industry. Starbucks needs to work on how to reduce the growing power of its competitors and to gain its market share in the long-term. Starbucks holds a strong competitive advantage over its rivals mainly due to its large market share and powerful brand image. Through constant innovation and expansion, Starbucks has maintained a loyal customer base and a competitive standing within the market. The company has employed strategies such as diversifying its products, attempting to gain a larger market share internationally, such as in China, developing sustainability, such as the use of reusable cups and adapting to new methods of marketing, including social media. Starbucks has also come under scrutiny for some of its marketing techniques which include saturating the market and intentionally placing pressure on competition. Due to its early entry to the market, Starbucks was able to solidify its position and reputation. Starbucks originally built this reputation using strategies which were designed to make it the ‘third place’ people spend their time, along with work and home. This similar setting of comfort set Starbucks apart from its competitors and began the culture that now represents the company. Starbucks then began saturating areas within the United States, which created an awareness of the company whilst putting pressure on smaller businesses and competitors. As stated, Starbucks came under scrutiny for its practise of buying out other businesses and saturating the market, with some stores operating at a loss, in order to put competitors in an unfavourable position. The saturation of markets, originally in the US and later worldwide, has created a huge awareness and familiarity of the Starbucks brand. The company, therefore, has a very unique strategy; Starbucks spends less than 1% of its annual revenue on advertising, relying largely on word of mouth advertising. Comparing this to the fact that its competitors spend hugely on its advertising on media (Dunkin Donuts spent more than 83% of its budget on TV and McDonald’s spent 97%), this is very surprising. Starbucks also cuts back on it’s advertising costs through its increasing use of social media advertising. Keeping up with trends such as social media has allowed Starbucks to stay relevant at this lower cost. To illustrate their effectiveness in social media marketing: they are the highest downloaded food and drink app. Further technological advantages Starbucks uses are cloud controlled coffee machines and cloud integrated equipment and staff which allow quicker transfers of information and greater data gathering. This point of difference creates a competitive advantage that Starbucks uses to maintain its dominant position. Furthermore, Starbucks has begun to focus on diversifying its products with a heavier focus on substitutes and complementary goods such as tea and food. With tea becoming increasingly popular in the West, this allows Starbucks to have a lesser reliance solely upon coffee and creates another point of difference from its competitors. Similarly, Starbucks acquired La Boulange bakery in 2012 in order to increase the quality of its food offerings and again diversify its products to attract a larger customer base and decrease its reliance upon the coffee trade. The adoption of these emerging markets allow Starbucks to not only create greater offerings and secure its place within them, but also to become more competitive with rivals where they couldn’t before. An area in which Starbucks has proven to be focusing on is ethical and environmental responsibility. This reflects modern consumer interests and is of greater importance to Starbucks due to its international exposure. In 2013, a reusable cup was introduced at $1 each, while offering a discount on purchased coffee. This both increased overall revenue and created an environmentally responsible image. According to a YouGov Omnibus survey,  taken in January 2013, 28% of Americans had already bought, or planned to buy the reusable cup, showing the importance of the move. Starbucks’ focus on environmentalism reflects the companies focus on improving its image and its understanding of the consumer. In order to further this image again, Starbucks is currently switching its coffee sources to fair trade and aims to be 100% ethically sourced by 2015. As a further display of its social awareness, the company offers its employees an extensive range of benefits and a pay rate higher than its competitors, which resulted in a high employee loyalty, hence, less staff turnover and higher productivity. Finally, one of the larger challenges that Starbucks had faced was expanding internationally and catering to different tastes and cultures worldwide. The aim behind Starbucks’ expansion was to bring the Starbucks experience to the world. Currently, Starbucks is largely focused in expanding in China due to its size and relevance as an emerging world power. Here, Starbucks has an advantage of brand awareness which aids in establishing a dominant position in China, as well as other markets. Keeping up with trends in tastes and technology also helps Starbucks expand internationally; with the emergence of the tea drinking market into which Starbucks is investing and the global increase in communication which Starbucks capitalises upon with its social media and cloud based ventures. It is important for Starbucks to continue looking internationally for its business expansions due to having already saturated much of the US and therefore to reduce its dependence on the US market and its tastes. It is clear that Starbucks is able to continue to be competitive offering its premium priced coffee due to its constant innovation and understanding of its consumers. Starbucks consistently stays ahead of the competition in its technological advances, expansion, social awareness and product development which makes it recognisable and desirable and reduces said competition in the market. The environment which Starbucks presents creates a willingness in the consumer to pay premium pricing for the service as a whole rather than just a coffee. This is ultimately what has differentiated Starbucks from its competitors and allows it to maintain a strong and growing loyal customer base where customers will be less inclined to switch between  companies. The Starbucks company itself possesses several times more market share than any of its competitors and therefore have an almost monopolized status as an entity in the huge coffee industry. It is Starbucks’ large competitive advantages which allow them to hold this position. Not only that, the coffee giant has been able to sustain its presence for over forty years. This begs the question: is Starbucks able to sustain their competitive advantages in the future? Firstly, what are these competitive advantages? Starbucks puts a lot of focus, time and energy into differentiating itself from the competition. This can be seen in the design of its coffee shops around the world, the music played there and the types of products it sells, such as jazz CD’s, thermos’, key chains and coffee-brewing equipment. It is clear to see that Starbucks sets itself apart with the vivid attention to excellence. This differentiation is achieved by the fact that no matter which Starbucks coffee shop you visit the atmosphere will be the same, thus giving the company a status of independency and uniqueness; not following any preconceived ideas. This provides customers with a sense of belongingness which in turn results in sustained business success from loyalty of customers, unmatched by competitors. As our contemporary lives are heading towards a faster and more efficient fashion, Starbucks makes sure to keep current on the latest technology, often times pioneering the latest in technological and communication advancements for its business and customers, far ahead of the times for a coffee shop. This dominance in technological communication is a competitive advantage which not only allows for quick and sustained adoption, but also builds relationships with its customer base. For example, Starbucks was one of the first companies to adopt location-based promotions and mobile payments. In general, retail stores will set up shop in locations based on demographics, locations of competitors, locations of own stores, traffic  patterns and so forth. However, instead of following the rest of the sheep, Starbucks CEO Howard Schultz had a different idea. Schultz decided that his strategy focused on heavily increasing the foot traffic in one specific part of town. By clustering a specific part of town with coffee shops Starbucks quickly achieved market dominance with this competitive advantage. Starbucks boasts the highest frequency of weekly visiting customers out of any American retailer, with over 20 million weekly visitors. Even more so impressive is that the company spends less than 1% of its annual revenues on advertising, against the typical 10% rather, the Starbucks competitive advantage relies on word of mouth. They believe that by creating an intimate and welcoming environment in their stores, as well as providing a great cup of coffee, customers will not only return, but do the advertising for them. Starbuck’s, with its clear points of difference, has created a loyal customer base which is willing to continue paying premium prices for the ‘Starbucks experience’. As Starbucks’ annual revenue increases have been consistent over the past ten years (see table 1), from $3.3 billion to $13.29 in 2012, this experience seems greatly successful and as such it is hard to imagine these competitive advantage formulae and successes being unsustainable for the foreseeable future. References 3 Ways Starbucks Is Innovating and Why You Should Care. (n.d.). Retrieved May 21, 2014, from http://www.entrepreneur.com/article/229580 Business Strategies. (n.d.). Retrieved May 21, 2014, from http://thebusinesstrategy.blogspot.co.nz/2013/03/how-has-starbucks-been-so-successful.html Hennessey, R. (2012, August 06). 3 Reasons Why Starbucks Still Shines, Despite Market Shortcomings. Retrieved May 21, 2014, from http://www.forbes.com/sites/rachelhennessey/2012/08/06/3-reasons-why-starbucks-still-shines-despite-market-shortcomings/ Many innovations today are associated with companies as opposed to individuals. Why is this, and what does it tell us? (n.d.). Retrieved May 21, 2014, from http://research-methodology.net/ Mission Statement. (n.d.). Retrieved May 20, 2014, from http://www.starbucks.com/about-us/company-information/mission-statement Starbucks Competitive Analysis. (n.d.). Retrieved May 21, 2014, from http://www.slideshare.net/mspinella1016/starbucks-competitive-analysis Starb ucks Company Statistics. (n.d.). Retrieved May 20, 2014, from http://www.statisticbrain.com/starbucks-company-statistics/ Starbucks reusable cups are a hit. (n.d.). Retrieved May 21, 2014, from http://today.yougov.com/news/2013/01/08/starbucks-reusable-cups-are-hit/ Starbucks: A Model of Success | TIME.com. (n.d.). Retrieved May 21, 2014, from http://business.time.com/2013/08/27/starbucks-a-model-of-success/ Sustained Competitive Advantage of Starbucks. (n.d.). Retrieved May 21, 2014, from http://unrealist.hubpages.com/hub/Sustained-Competitive-Advantage-of-Starbucks Tice, C. (2013, January 17). How Starbucks Will Make Millions Off Its New, Reusable Cup. Retrieved May 21, 2014, from http://www.forbes.com/sites/caroltice/2013/01/17/how-starbucks-will-make-millions-off-its-new-reusable-cup/ The Worlds Most Powerful Brands. (n.d.). Retrieved May 21, 2014, from http://www.rankingthebrands.com/The-Brand-Rankings.aspx?rankingID=279nav=category A look at Starbucks’ marketing strateg y. (n.d.). Retrieved May 20, 2014, from http://www.insidebusiness360.com/index.php/a-look-at-starbucks-marketing-strategy-1425/

African American English Essay Example for Free

African American English Essay When it comes to arguing whether African-American English/Ebonics, enriches or contaminates Standard English, most of the negative tone that African-American English gets comes from an educational stand point. One argument teachers, who do not believe in using Ebonics, use is that there is no place for Ebonics in the class room. Stacey Thomas, in her article â€Å"Ebonics and the African-American Student: Why Ebonics Has a Place in the Classroom† writes that teachers can use Ebonics as a way to facilitate the learning of Standard English to African American students. In order to use Ebonics as a vehicle to teaching Standard English, teachers must be bilingual; meaning they most know both Ebonics and Standard English. Thomas states, â€Å"†¦once students see and comprehend the differences between Standard English and Ebonics in terms of structure and syntax, they display a great[er] understanding in Standard English, and as a result, decrease their use of Ebonics† Ebonics and the African-American Student (6). In other words, by working on activities where students have to compare both Ebonics and Standard English, students’ knowledge of Standard English is increasing and their use of Ebonics is decreasing. Another arguments teachers use against Ebonics is that it obstructs the academic potential of African-Americans. Thomas goes further on by stating the Oakland school board Ebonics issue. In 1996, the Oakland, California school board started using Ebonics as a way to teach to African American students whose grades were lower than other ethnicities. As a result of using Ebonics as a vehicle to teaching, Thomas states, â€Å"the Oakland School Districts use of Ebonics in the classroom, [and] the students performance in reading and wring has improved†¦ the students have tested above district averages there was a in reading and writing skills† Ebonics and the African-American Student (6). So not only is the teaching of Ebonics facilitating school work for students, but it is also increasing their grades. Ebonics, a language that is stereotyped as ignorant and uneducated, is now becoming a great tool for educating students.

Trends in Indias Film Industry

Trends in Indias Film Industry 1.  Chapter One: Introduction In these modern times of instant digital communication, film has turn out to be one of the most vital way through various nations and cultures reveal their values and identities. Moving image technologies has turn out to be all-encompassing in our lives. They are huge business. Apart from that, a capability to recognize and apply them has become as important for the people of this present era as literacy was in the times of19th and 20th century (India PR Wire, April 4, 2007). The tempo, scale and consequences of this transformation are significant enough. The Indian Film industry has made a huge development ever since the Motion pictures first arrived in India in the year of 1896 when the Lumiere brothers revealed six silent short films in Bombay. The first feature film of India named- King Harishchandra (which was a silent movie) was released in the year of1913. In India the first ‘talkie’ movie that released was Alam Ara in the year 1931 (India PR Wire, April 4, 2007). 1.1  Film Production Houses In India A film production house is normally connected with the in-house production. It could categorize, make or telecast various segments of programs around news, films, multimedia, television shows, sports or ad films. India can be regarded as a home to a several well-known production houses from all the aforesaid stated areas. www.bestindiansites.com specifies top leading Indian websites on production houses of India, sports production house, ad film production house, film production house, sports production house, information on production house, list of production houses, television production house, multimedia production house, and a several other significant information’s (Subramaniam, A, 2003). We can in reality utter about various types of production houses such as Independent and corporate and just detail it by stating that Individual production houses are managed by just 1 or 2 producers and the infusion of capital investment for the production purpose is mainly generated by personal investment or by the means of loans taken from private investor. For corporate houses we could only cite that it is just like as any other corporate deal with the only differentiation that it produces films which is considered under the head of creative segment (essentially organised corporate structure of producing in creative industries – which is a new concept for Indian film industry) (Subramaniam, A, 2003) So when ‘Industry’ status was granted in 2000, Corporate started getting attracted towards the films industry realising the huge potential that was there to be exploited. When the corporate started entering to film industry with huge investment power they started incorporating studio culture of Hollywood by following vertical integration. Leaving behind the prevailing system of horizontal integration to the independent producers. The studio model production house started giving more importance to the content. It stressed on script development, introducing younger generation actors and directors, budget and time management, co productions and international distribution.  None of the new corporate production house had the background of film production when they entered the segment. However most of them were involved in activities related to the media (The Business Line, 2007). Barney says that the first to exploit the resources would gain competitive advantage over its rivals. This is exactly how the corporate production houses gained advantage over independent producers. The Industry had a lot of potential to grow with its wide acceptance globally. but the independent production houses had neglected this aspect, so when the corporate entered the industry they took complete advantage by using the unexploited resources of reach of the films and its growth possibilities steps (Barney, 1991). To exploit the resources of growth prospective, the studio model was developed under these parameters- To Produce and co produce the movies with strong content and story line. To complete the movie with in the budget and also in time. To sign contractual agreements with actors and directors. To focus on medium and large scale budget movies. To develop a huge distribution network nationally and internationally These parameters are not different from any other studio model in the world. Corporate production houses main aim was to apply these practices and standards in other markets, to the Indian market. The reason for doing this was to make maximum utilisation of the resources available. Already registered in the London Stock Exchange, several Indian film companies like as Eros, Ad labs, India Film Company, and utv – have generated immense capital from the various institutional investors who were keen to invest in Indian film companies. Moreover several Western film companies are looking forward for acquiring an ample equity share in these companies (Desai 2007). In this regard on 24 January 2005, Percept Picture Company associated with Michael Douglas’ production company Further Films and Sahara One to co-produce the $50-million Racing the Monsoon. Also on 1 September Sahara declared one more alliance, and this time with a Hollywood producer Donald Rosenfeld for Tree of Life starring Colin Farrell. These are two among a total of six Hollywood coproductions. (Kohli- Khandekar 2006.). On 20 October, 2005, Sony Pictures sign on Sanjay Leela Bhansali to co-produce Saawariya. The film was released globally in the year of 2007 with around 1,000 prints, a figure which was not heard of in the previous times for an Indian film. [The figure is on average 250.] Moreover this was the first time that a renowned Hollywood studio (that one of top six) had produced an Indian film. (Kohli-Khandekar 2006.) Indian admired cinema, remarkably Bollywood – the Mumbai (Bombay) film industry has witnessed several transformations given that it’s first beginnings. A few key modifications that took place at the turn of the century when Indian Popular Cinema gained the position of an industry.(1) After that the Indian film has developed in new directions. One such change was a more intense interplay between the global and the local which took place during the 1990s. Today, every single function and activity related to the Indian film business is becoming well defined and systematized, be it the retail infrastructure, financial aspect, marketing or distribution. Even films themselves are gradually falling into place. In just under five years, the industry has shed five decades of baggage and has become an organised business. This is a new Indian film industry (Kohli-Khandekar 2006). Film producers are interested in creating serious corporate structures, and Indian as well as foreign business is pouring money into the cinema. A wall of money is descending on Bollywood and there is a huge bubble building up (Desai 2007). Evaluating by the amount of movies produced by the Indian film industry, which is about more than one thousand movies per year, it is been regarded as the largest movie industry of the globe. The studio has reached international and also the profit earnings of the several Indian movies were greater in overseas locations than in India. Indian films have been witnessed in the leading ten lists of movies in the continents of UK and USA ((The Business Line, 2007)). 1.2  An overview of Indian film industry 1.2.1  Historical Section How Bollywood has evolved India is been regarded as the biggest movie industry of the world, if we talk about the number of movies produced in a year. It produces around more than 1000 films per year, which is greater than any of the film producing country. The Indian film industry is commonly regarded as BOLLYWOOD. The first Indian cinema was arrived in the year of 1913 with RAJA HARISHCHANDRA firstly coming into the picture and paving its way to the new period of silent cinema in India (Das Gupta, S., 2006). Since that time it has witnessed a vast series of evolution both in conditions of making and marketing of the Indian films.  We will largely talk about the evolution that took place from the year of 1980s to present time. India produces more films than any other country in the world, the government of India didn’t recognize filmmaking as an official industry until as recently as 2001. Before then, it was impossible for producers to get loans from banks or even insurance for their productions. As a result, producers often paid for their films out of their own pockets – a practice most American producers would consider absurdly risky – or obtained financing from less savory sources (Das Gupta, S., 2006): The unruly aspects of film production weren’t just limited to its financing. In some cases, it would take years to shoot a film. Overbooked film stars would show up egregiously late on set (or not at all) without penalty, scripts were often rewritten on set depending on which actors showed up, contracts were verbal and often violated, and produced films had no guarantees of finding distribution. All of these factors combined to make Bollywood film production an extremely risky endeavour (Das Gupta, S., 2006). 1980-1990 In India maximum number of films were produced by Independent (SingleSolo) producers or Family production houses, Big production companies like Rajashri productions, B.R Productions and R.K Productions were family owned production houses  and in some cases it can be traced back to several generations.(Taebue and Lorenzen-2007)   â€Å"In this period the Indian film industry seemed to make the least progress and in some case journey in the path of deprogress† (Ashish Tiwari). Most of the films were produced on a Formula which had protagonist the male lead character of the film who is called as the Hero and his female counter part as the Heroine who romanced with the Hero singing and dancing around the trees, this strategy gave birth to the masala films (Hindi for â€Å"spice mix†) â€Å"It was a compound made up of several elemental combinations that had drama comedy and romance along with song and dance sequences in symbol driven rather than plot driven† ( Lorenzen Taeube-2006). â€Å"The controversial author Salman Rushdie found a very precise and creative term that sums up the subject of Indian films perfectly, describing it as: ‘Epico-Mythico-Tragico-Comico-Super-Sexy-High- Masala-Art’ (Salman Rushdi, 1995 in â€Å"The Moor’s Last Sigh† quoted in Mishra,)à ¢â‚¬ (Adleline Pissang-2000).  Repetition of these kinds of stereotype films kept the audience away from theatres. Introduction of colour television and national coverage by Doordarshan in early 1980’s caused a drop in demand for Indian films. The middle class audience preferred to watch new Television soaps and old films on video cassettes (VHS) in their home rather than going to cinema halls. So the cinema halls became a run down and regarded suitable only for lower class men who could not afford a television preferred watching hard core violent films in theatres with lots of action and skimpily clad women dancing in the rain (Misara-2002). Competition from television made film production houses think innovatively, to hold their grip on the medium, so they started upgrading their films with lavish sets and so called â€Å"multi starrer† films which in turn increased the importance of star actors. So naturally the star actors wanted to cash in on their ‘star value’ and started charging exorbitant sums to act in a single film which in turn escalated the production cost of the film (Gopalan-2002). This was at the same time when the Indian music industry was on a high and could turn around the profit margins of even those films that failed at the box- office. The movie soundtrack became a key publicity stunt for the movies and the number of tracks and their popularity increased steadily. The pre- movie launch of music could determine the fate of a movie because if the music did well in the market then it created a huge wave amongst the public before the film got released. The sales of the audio cassettes used to bring in good share of revenue. The producers always hoped and worked towards making the music of their film a hit by casting good/popular music directors and famous playback singers for their films. Again, the producer had to invest a lot more on a popular music director but it was chance worth taking (Ganti-2004).   1990-2000 The introduction of cable T.V. was the greatest revolution of this era. It changed the outlook of film industry, though initially the survival of film industry was challenged with the entry of cable T.V. as it was an instant hit with the audience because it provided plenty of regional language channels like ZEE TV, SUN network and as well as few English channels STAR, HBO which aired films on their channels. But gradually the production houses understood the potential of the cable T.V. as it found a way for new source of income through selling its film rights at relatively higher prices for its telecast in television which is called as satellite rights (Pendakur-2003). Subsequently the film industry started depending on television as a medium of publicity by broadcasting songs and advertising campaigns of their films to pull the audiences to the theatres (David Hancock-1999). Music channels like MTV and V channel could not sustain by just transmitting private non film and international music albums so they had to take cover of film songs to increase their popularity in India (Bose-2006). It is believed that the criminal sources like underworld had a very strong hold on the Indian film industry; they controlled the whole production process of the films that they financed by dictating the terms in Bollywood like casting a superstar and selecting brilliant directors to work for their films. It is also believed that celebrities of the industry had close links with the mafia. Though usage of Black money (unaccounted money) in films was not an unfamiliar thing for ages but funding from underworld started in this period. It is estimated that 40% of film productions were financed by the underworld (Kripalani and Grover 2002; David Hancock-1998).   The early 1990’s can be called as the period of stagnation; the commercial cinema had ridiculous dialogues, baseless stories with no originality in them (Ashish Tiwari 2007). Few films in mid 1990’s were huge hits which broke most of the previous records. These films were big budget, romantic films (Dwyer and Patel) which upheld the family values in them. The two astronomical hits were HUM APKE HAI KAUN? (Who am I to You?) This released in 1994 and went onto run for two years in more than 50 theatres and DILWALE DULHANIA LE JAYENGE!! (The Brave Heart Will Take the Bride) got released in 1995 and was still running in its 13th year for 679th week as on 17th October 2008 at Marata Mandhir Cinema in Mumbai (www). Both these films were on similar lines, they were big budget romantic films with no actions sequence in them. In the former’s case the whole film was shot in beautiful gigantic sets going outdoors only for song sequence, which had 12 music tracks in it. In latter’s case maximum portion of the shoot took place in foreign locales. The audio of both these films were massive hits because they used the full potential of television by telecasting their songs and ad campaigns before the theatrical release. Both the production houses (Rajashri Productions and Yashraj Productions) of these films took great interest in refurbishing the theatres before the release of their films because they precisely knew their target audience were the upper middle class and family audiences who were content with television and they had to bring them back to the theatres. Once they succeeded â€Å"it marked the dominance of new middle class and uphold them to the pleasure of socially mixed audie nce both in India and overseas†. (Dwyer and Patel-2002) Rajashri and Yashraj Productions were the good old big production houses which started the trend for these kinds of films with big budget, but most of the small scale productions could not cope with this and had to stop producing films. Gradually number of films produced per year dropped. Source: David Hancock; Global Film production (Working Document) Venice Conference The biggest and greatest breakthrough in the Indian Cinema came in 1998. This is the year the Indian government recognised the potential of Indian cinema and granted the official status of ‘Industry’. Until then the public as well as private banks and other big financial institutions desisted from getting involved with the film production companies so the producers always had to depend on private money lenders for the capital for their films (Dwyer Patel, 2002). Now the production houses are getting their capital from public investments through semi public Industrial Development Bank of India (IDBI) and other public banks (Lorenzen Taeube, 2006) 2000- Till date.. Indian Film Industry started in its way of revival of sorts, in 2001 all the prints of the film Chori Chori Chupke Chupke which had a huge star cast was seized by the Central Bureau of Investigation suspecting it to be funded by the underworld and the producer of the film Bharath Shah was arrested for having close connections with the underworld. After this incident most of the producers feared to be identified with the under world. So the underworld gradually lost its hold in the Bollywood. Shooting at overseas location for a film is not new to Bollywood they have been doing this since 1960’s but currently there is an increasing trend of Indian film crew shooting at foreign locales. This is because of the huge global market for the Indian films. Many films are released simultaneously in U.S.A. and U.K.  and there are instances where the returns from overseas collections is higher than the home collections.  The script writers and Directors cannot neglect the overseas market any more while scripting and shooting for their film (Dudrah, R K, 2006). After the liberalisation of the industry in 1998 Direct Foreign Investments, Global Investors, Private Corporate started entering the film industry. Hollywood Majors like Universal, 21st Century Fox started investing in the Indian film industry through joint ventures with the Indian production houses. The corporate production houses are gaining importance in the film industry. Corporate houses like ADLABS, EROS, UTV, K.SERA SERA and many others have already made a mark in B.S.E. (Bombay Stock Exchange) and even in L.S.E. (London Stock Exchange). In the current scenario 20% of the total India films are produced by corporate giants (Anand times- 2006).   They have developed professional ways of organising business, mergers, outsourcing, distributing, use of new technology and marketing content.  The corporate houses have brought in the much needed professional flavour in to films which were missing in the production process earlier. The main advantage of the corporate house is it can produce more number of films simultaneously; it produces 5-6 films per year where as compared to the individual production houses cannot afford to produce more than 2-3 films in a year even after the deregulation. The greatest advantage of a corporate production house is it has a huge capital to invest on its films. Usually the risk is higher on a single movie basis, but the risk spreads out as they produce lot of films simultaneously.  They employ professionals in their firm as compared to the single producers of 80’s who used change their crew after every film. Few corporate houses even have their own multiplex cinema which helps in theatrical release as well as in developing a marketing strategy for their films. The corporate giants are investing hugely on the industry as a result of this the film Industry is already the 3rd largest industry in India (Dudrah-2006). The production houses are aiming at a homogenous or serial form of production as opposed to heterogeneous form of production they had earlier. The main purpose of switching to this form of production is to control all means of production and operate all aspects of film making from finance to production and distribution (Prasad-1998). The best example being Yashraj Productions. They have their own studios for recording, dubbing and editing and also have production equipments required for the shoot. With in the production  house they also have different sections like Yashraj Distribution for overseas and home market, Yashraj Music for all their audio sales and Yashraj Video for home video like DVD’s and VCD’s. It was one of the first production houses to hire management students from Indian Institute of Management, Ahmadabad (IIMA) to market their films and also to set up their whole business process. They also stated their own website to market and project their media image  (Dywer Patel- 2002). Professionalization has brought new and better modes of planning. There are changed practices of production where there are professionals working constantly for the better utilization of funds, bringing production costs down and maximizing the profits  Film production in India is becoming an organised business. The overall film industry is taking on professional colours. 1.3  Size and growth opportunities The total size of Indian film industry was estimated at around Rs.56.5bn (inr40 = usd1) WHEN was this?, it is  anticipated to touch a huge figure of about Rs.153bn by the year of 2010 with taking into account 18 percent compound annual growth rate (cagr) as per the estimates of  ficci-Pricewaterhouse- Coopers in the year 2006. On the whole, the Indian film industry was anticipated to be value of about usd1.8bn in the year 2006. On the basis of a thorough top-down analysis considering the share of private consumption as a proportion of gdp, the marketshare for media and entertainment (me) expenditures, and film budgets within the me space it was accounted that the Indian film industry will be valued in between usd4.4 and 5.1bn (between inr176bn and inr204bn) by 2011 (cii-A.T. Kearney 2007). The movie industry has been getting more and more corporatized. Many film production, distribution and exhibition houses are listed on the stock markets and they have raised capital through public issue. Several theatres around the nation have been developed into multiplexes and plans to build up additional digital cinema halls are by now in lime light. This will certainly not only enhance the quality of prints and thereby providing viewing a extra pleasant experience for the audiences but will also decrease the piracy of prints (ficci-PricewaterhouseCoopers 2006). These days piracy is a major issue for the Indian film industry. Not initiating nay major anti-piracy laws on the part of the government and an absence of educated officers that implements anti-piracy laws remains the vital issue. These are the main issue which is why the piracy business has not been able to control to a greater extent. This issue along with the lengthy legal and arbitration process is regarded as prevention to the fight against piracy. Apart from this the present Copyrights Act is also obsolete in conditions to technology enhancement and in addition, it does not deal with the requirements of the electronic media where the degree of piracy is amongst the maximum in present time. The Optical Disc Law draft established to deal with the requirement for regulating piracy at the manufacturing phase is still pending for the approval of the Indian ministry (ficci-PricewaterhouseCoopers 2006). As against to few developed markets where the home market symbolizes greater than 40% of total movie revenues, the home market share in India is comparatively small (8%), though, this share is anticipated to rise to about 14% by the year of 2010. The important pushers that will facilitate this are the rising amount of reasonably priced DVD players and lesser prices of original DVDs so as to battle the issues of piracy (cii-A.T. Kearney 2007). The Indian entertainment and media industry enjoys a lot of aid in the present times – be it regulations that permit foreign investment, the momentum from the economy, digital lifestyle and spending styles of the consumers, and also several opportunities the development in technology have to provide. The industry only has to do is to realize its growth potential and opportunities. The government is required to play a greater dynamic task in solving out the policy-related obstruction for the purpose of growth. The industry is required to get rid of all obstructions, like as piracy in an intensive way along with the measures to produce high-quality global class end products. The entertainment and media industry has all ingredients which it generally takes to turn into the star of Indian economy (ficci-PricewaterhouseCoopers 2006). There are two important movements that will basically transform the scene of the Indian film industry in the coming couple of years, namely digitization and a change in consumer preferences. Digitization will lead to consolidation and appearance of huge scale exhibition networks and, and apart from this, in the balance of power among producers-distributors and exhibitors. Changing customer preferences will lead to rising international acceptance of Indian films and in the upcoming of new media (cii-A.T. Kearney 2007). Growth opportunities in terms of Corporate production houses Indian film industry comprises of numerous regional clusters, and Bollywood is merely one of them. Bollywood is the cluster located in Mumbai, producing the biggest share of films (40%) mainly in Hindi (PWC FICCI, 2007). Bollywood is the oldest film cluster in India, dating back to early 20th century. Other film clusters in India like as one in Hyderabad, called â€Å"Tollywood† produces second biggest amount of films mainly in Telugu. While other clusters produce films chiefly in their local language. Growth opportunities in terms of Indian Film Industry 1.31 Current situation Currently the success ratios of films are very low at the box office. Only 10 to 20% of films break even or earn profits (Ganapathi, 2002; Pendakur, 2003; Ganti, 2004; Lorenzen Taeube, 2006) but most of the producers make money, recouping their investments through new auxiliary sources of revenue () like satellite rights music rights, home video rights(DVD),  video games, toys, computer wallpapers, ring tones, movie clips for mobile and selling ancillary rights. The new trend is product placement in films which brings in a lot of revenue and even helps in publicity of the film. In the period of 1998-2005 i.e after gaining the status of industry, the revenues in the films have grown by 360% this is including all revenues from advertising, selling of ancillary rights and music rights (Kholi- Khandekar, 2006; Lorenzen Taeube, 2006). The digital relay of films in cinema theatres is saving a lot of money as you don’t have to develop the physical print, which took a major share in a film budget.   The industry is losing more than 40% of its revenue through Piracy (David Hancock-1998). Copyright infringement of films is so wide spread in India it can be called as a ‘small scale industry’. Bootleg copies of DVD’s are available in the market on the same day the film officially releases in theatres or some times even before that. Pirated DVD’s and CD’s of Bollywood movies are available in most of the South Asian and South East Asian countries. The small cable television channels broadcast newly released films in their channels without paying any kind of compensation. Another problem is consumer copying which is very difficult to stop. To add on to this is Online Internet movies where consumers can download movies from websites like www.bhejafry.net, www.indiaonlinemovies.com and many more without actually paying anything. The technical skills of the Indian Film Industry has always been extraordinary but most of the time they had to settle for old and very poor quality of equipments.  But now due to huge market and Corporatisation they can afford to buy more sophisticated equipments. Digital facilities for Sound Recording, Dubbing, Editing is as good as anywhere in the world (Dwyer Patel, 2002). Bollywood has always been very enthusiastic about embracing new technologies in their films, and it is also been much quicker in doing this than the Hollywood (Currah, 2007). The Film Industry is using all the latest technologies like Arry 435 for the shoot, Avid and Mac products for post production work. Sync sound, D.I.(Digital Intermediate), Animations and special effects with Graphics are used extensively.  The Indian Film Industry can now even employ foreign technicians to work for them to improve the quality of the final product. In the blockbuster film KRRISH- (2006) the action sequence was choreographed by Tony Ching from Hong Kong and all the special effects for the film was done by Hollywood technicians (Minocha and Stonehouse- 2006). Globalisation has four facets, that is, movement of goods, capital, technology and people across borders. In terms of movement of goods (i. e., movies) Indian movie industry has a long history of presence in the global market. Awara was sent to the Soviet Union and other Communist bloc countries crazy in the year of1950s. Mehboob’s Aan had a French release after its premiere in London. Long before that Himansu Rai made visually stunning films in cooperation with the Germans in the early 1930s, like The Light of Asia and A Throw of Dice, and many more which were shown in Europe as Indian films with Indian stories. By then the Bombay film industry had been around for 35 years. The film industry is definitely as old as the cinema itself and surely older than Hollywood, which has its early development in the late 1900s (Desai 2007). The exports of the Indian movie have grown for approximately 60% in recent times. The USA and Canada are two main export locations witnessing for 30 percent than by the UK with 25% and Mauritius and Dubai with 10% each. Some other main markets comprise South Africa, Russia, Fiji, New Zealand and Australia where there is abundant Indian diasporas present. Making a film for the diaspora market is a certainly a moneymaking project as against to making a film for the Indian domestic market (Desai 2007). With the global audience, there is outstanding recognition of Indian movie themes along with sew of the cross-over films made by global movie production players. The profit earnings of these movies can be match up to to few of the Hollywood box office hits. A number of Bollywood movies have gained greater than 50% of their total gross profit margin from global box office collection. However it is a welcome movement that requires to be carried on. One of the significant success factors for these cinemas is to recognize ideas from within the Indian subjects which are liked by the audience. An additional important success factor is to associate with a top global distributor; films produced by the person of Indian origin have had up to 2–3 times greater global earnings as compared to the national bestsellers (cii- A.T. Kearney 2007). Table 2 reveals a series of cross over films and the revenue earning generated by these films. India has stated its determined plans to double its share in the international film industry by the end of this year. This shows the great determination of the country to build itself as a cultural as well as economic powerhouse. There are many reasons why we must believe that. To begin with, the government, which aims on considering Bollywood to set up India as a ‘soft power’, considers the Indian film industry is competent enough to capture five percent of the international market this season. The share at the present time is two percent (Johnson 2007). Kishore Lulla, the chief executive of Eros International, a uk Trends in Indias Film Industry Trends in Indias Film Industry 1.  Chapter One: Introduction In these modern times of instant digital communication, film has turn out to be one of the most vital way through various nations and cultures reveal their values and identities. Moving image technologies has turn out to be all-encompassing in our lives. They are huge business. Apart from that, a capability to recognize and apply them has become as important for the people of this present era as literacy was in the times of19th and 20th century (India PR Wire, April 4, 2007). The tempo, scale and consequences of this transformation are significant enough. The Indian Film industry has made a huge development ever since the Motion pictures first arrived in India in the year of 1896 when the Lumiere brothers revealed six silent short films in Bombay. The first feature film of India named- King Harishchandra (which was a silent movie) was released in the year of1913. In India the first ‘talkie’ movie that released was Alam Ara in the year 1931 (India PR Wire, April 4, 2007). 1.1  Film Production Houses In India A film production house is normally connected with the in-house production. It could categorize, make or telecast various segments of programs around news, films, multimedia, television shows, sports or ad films. India can be regarded as a home to a several well-known production houses from all the aforesaid stated areas. www.bestindiansites.com specifies top leading Indian websites on production houses of India, sports production house, ad film production house, film production house, sports production house, information on production house, list of production houses, television production house, multimedia production house, and a several other significant information’s (Subramaniam, A, 2003). We can in reality utter about various types of production houses such as Independent and corporate and just detail it by stating that Individual production houses are managed by just 1 or 2 producers and the infusion of capital investment for the production purpose is mainly generated by personal investment or by the means of loans taken from private investor. For corporate houses we could only cite that it is just like as any other corporate deal with the only differentiation that it produces films which is considered under the head of creative segment (essentially organised corporate structure of producing in creative industries – which is a new concept for Indian film industry) (Subramaniam, A, 2003) So when ‘Industry’ status was granted in 2000, Corporate started getting attracted towards the films industry realising the huge potential that was there to be exploited. When the corporate started entering to film industry with huge investment power they started incorporating studio culture of Hollywood by following vertical integration. Leaving behind the prevailing system of horizontal integration to the independent producers. The studio model production house started giving more importance to the content. It stressed on script development, introducing younger generation actors and directors, budget and time management, co productions and international distribution.  None of the new corporate production house had the background of film production when they entered the segment. However most of them were involved in activities related to the media (The Business Line, 2007). Barney says that the first to exploit the resources would gain competitive advantage over its rivals. This is exactly how the corporate production houses gained advantage over independent producers. The Industry had a lot of potential to grow with its wide acceptance globally. but the independent production houses had neglected this aspect, so when the corporate entered the industry they took complete advantage by using the unexploited resources of reach of the films and its growth possibilities steps (Barney, 1991). To exploit the resources of growth prospective, the studio model was developed under these parameters- To Produce and co produce the movies with strong content and story line. To complete the movie with in the budget and also in time. To sign contractual agreements with actors and directors. To focus on medium and large scale budget movies. To develop a huge distribution network nationally and internationally These parameters are not different from any other studio model in the world. Corporate production houses main aim was to apply these practices and standards in other markets, to the Indian market. The reason for doing this was to make maximum utilisation of the resources available. Already registered in the London Stock Exchange, several Indian film companies like as Eros, Ad labs, India Film Company, and utv – have generated immense capital from the various institutional investors who were keen to invest in Indian film companies. Moreover several Western film companies are looking forward for acquiring an ample equity share in these companies (Desai 2007). In this regard on 24 January 2005, Percept Picture Company associated with Michael Douglas’ production company Further Films and Sahara One to co-produce the $50-million Racing the Monsoon. Also on 1 September Sahara declared one more alliance, and this time with a Hollywood producer Donald Rosenfeld for Tree of Life starring Colin Farrell. These are two among a total of six Hollywood coproductions. (Kohli- Khandekar 2006.). On 20 October, 2005, Sony Pictures sign on Sanjay Leela Bhansali to co-produce Saawariya. The film was released globally in the year of 2007 with around 1,000 prints, a figure which was not heard of in the previous times for an Indian film. [The figure is on average 250.] Moreover this was the first time that a renowned Hollywood studio (that one of top six) had produced an Indian film. (Kohli-Khandekar 2006.) Indian admired cinema, remarkably Bollywood – the Mumbai (Bombay) film industry has witnessed several transformations given that it’s first beginnings. A few key modifications that took place at the turn of the century when Indian Popular Cinema gained the position of an industry.(1) After that the Indian film has developed in new directions. One such change was a more intense interplay between the global and the local which took place during the 1990s. Today, every single function and activity related to the Indian film business is becoming well defined and systematized, be it the retail infrastructure, financial aspect, marketing or distribution. Even films themselves are gradually falling into place. In just under five years, the industry has shed five decades of baggage and has become an organised business. This is a new Indian film industry (Kohli-Khandekar 2006). Film producers are interested in creating serious corporate structures, and Indian as well as foreign business is pouring money into the cinema. A wall of money is descending on Bollywood and there is a huge bubble building up (Desai 2007). Evaluating by the amount of movies produced by the Indian film industry, which is about more than one thousand movies per year, it is been regarded as the largest movie industry of the globe. The studio has reached international and also the profit earnings of the several Indian movies were greater in overseas locations than in India. Indian films have been witnessed in the leading ten lists of movies in the continents of UK and USA ((The Business Line, 2007)). 1.2  An overview of Indian film industry 1.2.1  Historical Section How Bollywood has evolved India is been regarded as the biggest movie industry of the world, if we talk about the number of movies produced in a year. It produces around more than 1000 films per year, which is greater than any of the film producing country. The Indian film industry is commonly regarded as BOLLYWOOD. The first Indian cinema was arrived in the year of 1913 with RAJA HARISHCHANDRA firstly coming into the picture and paving its way to the new period of silent cinema in India (Das Gupta, S., 2006). Since that time it has witnessed a vast series of evolution both in conditions of making and marketing of the Indian films.  We will largely talk about the evolution that took place from the year of 1980s to present time. India produces more films than any other country in the world, the government of India didn’t recognize filmmaking as an official industry until as recently as 2001. Before then, it was impossible for producers to get loans from banks or even insurance for their productions. As a result, producers often paid for their films out of their own pockets – a practice most American producers would consider absurdly risky – or obtained financing from less savory sources (Das Gupta, S., 2006): The unruly aspects of film production weren’t just limited to its financing. In some cases, it would take years to shoot a film. Overbooked film stars would show up egregiously late on set (or not at all) without penalty, scripts were often rewritten on set depending on which actors showed up, contracts were verbal and often violated, and produced films had no guarantees of finding distribution. All of these factors combined to make Bollywood film production an extremely risky endeavour (Das Gupta, S., 2006). 1980-1990 In India maximum number of films were produced by Independent (SingleSolo) producers or Family production houses, Big production companies like Rajashri productions, B.R Productions and R.K Productions were family owned production houses  and in some cases it can be traced back to several generations.(Taebue and Lorenzen-2007)   â€Å"In this period the Indian film industry seemed to make the least progress and in some case journey in the path of deprogress† (Ashish Tiwari). Most of the films were produced on a Formula which had protagonist the male lead character of the film who is called as the Hero and his female counter part as the Heroine who romanced with the Hero singing and dancing around the trees, this strategy gave birth to the masala films (Hindi for â€Å"spice mix†) â€Å"It was a compound made up of several elemental combinations that had drama comedy and romance along with song and dance sequences in symbol driven rather than plot driven† ( Lorenzen Taeube-2006). â€Å"The controversial author Salman Rushdie found a very precise and creative term that sums up the subject of Indian films perfectly, describing it as: ‘Epico-Mythico-Tragico-Comico-Super-Sexy-High- Masala-Art’ (Salman Rushdi, 1995 in â€Å"The Moor’s Last Sigh† quoted in Mishra,)à ¢â‚¬ (Adleline Pissang-2000).  Repetition of these kinds of stereotype films kept the audience away from theatres. Introduction of colour television and national coverage by Doordarshan in early 1980’s caused a drop in demand for Indian films. The middle class audience preferred to watch new Television soaps and old films on video cassettes (VHS) in their home rather than going to cinema halls. So the cinema halls became a run down and regarded suitable only for lower class men who could not afford a television preferred watching hard core violent films in theatres with lots of action and skimpily clad women dancing in the rain (Misara-2002). Competition from television made film production houses think innovatively, to hold their grip on the medium, so they started upgrading their films with lavish sets and so called â€Å"multi starrer† films which in turn increased the importance of star actors. So naturally the star actors wanted to cash in on their ‘star value’ and started charging exorbitant sums to act in a single film which in turn escalated the production cost of the film (Gopalan-2002). This was at the same time when the Indian music industry was on a high and could turn around the profit margins of even those films that failed at the box- office. The movie soundtrack became a key publicity stunt for the movies and the number of tracks and their popularity increased steadily. The pre- movie launch of music could determine the fate of a movie because if the music did well in the market then it created a huge wave amongst the public before the film got released. The sales of the audio cassettes used to bring in good share of revenue. The producers always hoped and worked towards making the music of their film a hit by casting good/popular music directors and famous playback singers for their films. Again, the producer had to invest a lot more on a popular music director but it was chance worth taking (Ganti-2004).   1990-2000 The introduction of cable T.V. was the greatest revolution of this era. It changed the outlook of film industry, though initially the survival of film industry was challenged with the entry of cable T.V. as it was an instant hit with the audience because it provided plenty of regional language channels like ZEE TV, SUN network and as well as few English channels STAR, HBO which aired films on their channels. But gradually the production houses understood the potential of the cable T.V. as it found a way for new source of income through selling its film rights at relatively higher prices for its telecast in television which is called as satellite rights (Pendakur-2003). Subsequently the film industry started depending on television as a medium of publicity by broadcasting songs and advertising campaigns of their films to pull the audiences to the theatres (David Hancock-1999). Music channels like MTV and V channel could not sustain by just transmitting private non film and international music albums so they had to take cover of film songs to increase their popularity in India (Bose-2006). It is believed that the criminal sources like underworld had a very strong hold on the Indian film industry; they controlled the whole production process of the films that they financed by dictating the terms in Bollywood like casting a superstar and selecting brilliant directors to work for their films. It is also believed that celebrities of the industry had close links with the mafia. Though usage of Black money (unaccounted money) in films was not an unfamiliar thing for ages but funding from underworld started in this period. It is estimated that 40% of film productions were financed by the underworld (Kripalani and Grover 2002; David Hancock-1998).   The early 1990’s can be called as the period of stagnation; the commercial cinema had ridiculous dialogues, baseless stories with no originality in them (Ashish Tiwari 2007). Few films in mid 1990’s were huge hits which broke most of the previous records. These films were big budget, romantic films (Dwyer and Patel) which upheld the family values in them. The two astronomical hits were HUM APKE HAI KAUN? (Who am I to You?) This released in 1994 and went onto run for two years in more than 50 theatres and DILWALE DULHANIA LE JAYENGE!! (The Brave Heart Will Take the Bride) got released in 1995 and was still running in its 13th year for 679th week as on 17th October 2008 at Marata Mandhir Cinema in Mumbai (www). Both these films were on similar lines, they were big budget romantic films with no actions sequence in them. In the former’s case the whole film was shot in beautiful gigantic sets going outdoors only for song sequence, which had 12 music tracks in it. In latter’s case maximum portion of the shoot took place in foreign locales. The audio of both these films were massive hits because they used the full potential of television by telecasting their songs and ad campaigns before the theatrical release. Both the production houses (Rajashri Productions and Yashraj Productions) of these films took great interest in refurbishing the theatres before the release of their films because they precisely knew their target audience were the upper middle class and family audiences who were content with television and they had to bring them back to the theatres. Once they succeeded â€Å"it marked the dominance of new middle class and uphold them to the pleasure of socially mixed audie nce both in India and overseas†. (Dwyer and Patel-2002) Rajashri and Yashraj Productions were the good old big production houses which started the trend for these kinds of films with big budget, but most of the small scale productions could not cope with this and had to stop producing films. Gradually number of films produced per year dropped. Source: David Hancock; Global Film production (Working Document) Venice Conference The biggest and greatest breakthrough in the Indian Cinema came in 1998. This is the year the Indian government recognised the potential of Indian cinema and granted the official status of ‘Industry’. Until then the public as well as private banks and other big financial institutions desisted from getting involved with the film production companies so the producers always had to depend on private money lenders for the capital for their films (Dwyer Patel, 2002). Now the production houses are getting their capital from public investments through semi public Industrial Development Bank of India (IDBI) and other public banks (Lorenzen Taeube, 2006) 2000- Till date.. Indian Film Industry started in its way of revival of sorts, in 2001 all the prints of the film Chori Chori Chupke Chupke which had a huge star cast was seized by the Central Bureau of Investigation suspecting it to be funded by the underworld and the producer of the film Bharath Shah was arrested for having close connections with the underworld. After this incident most of the producers feared to be identified with the under world. So the underworld gradually lost its hold in the Bollywood. Shooting at overseas location for a film is not new to Bollywood they have been doing this since 1960’s but currently there is an increasing trend of Indian film crew shooting at foreign locales. This is because of the huge global market for the Indian films. Many films are released simultaneously in U.S.A. and U.K.  and there are instances where the returns from overseas collections is higher than the home collections.  The script writers and Directors cannot neglect the overseas market any more while scripting and shooting for their film (Dudrah, R K, 2006). After the liberalisation of the industry in 1998 Direct Foreign Investments, Global Investors, Private Corporate started entering the film industry. Hollywood Majors like Universal, 21st Century Fox started investing in the Indian film industry through joint ventures with the Indian production houses. The corporate production houses are gaining importance in the film industry. Corporate houses like ADLABS, EROS, UTV, K.SERA SERA and many others have already made a mark in B.S.E. (Bombay Stock Exchange) and even in L.S.E. (London Stock Exchange). In the current scenario 20% of the total India films are produced by corporate giants (Anand times- 2006).   They have developed professional ways of organising business, mergers, outsourcing, distributing, use of new technology and marketing content.  The corporate houses have brought in the much needed professional flavour in to films which were missing in the production process earlier. The main advantage of the corporate house is it can produce more number of films simultaneously; it produces 5-6 films per year where as compared to the individual production houses cannot afford to produce more than 2-3 films in a year even after the deregulation. The greatest advantage of a corporate production house is it has a huge capital to invest on its films. Usually the risk is higher on a single movie basis, but the risk spreads out as they produce lot of films simultaneously.  They employ professionals in their firm as compared to the single producers of 80’s who used change their crew after every film. Few corporate houses even have their own multiplex cinema which helps in theatrical release as well as in developing a marketing strategy for their films. The corporate giants are investing hugely on the industry as a result of this the film Industry is already the 3rd largest industry in India (Dudrah-2006). The production houses are aiming at a homogenous or serial form of production as opposed to heterogeneous form of production they had earlier. The main purpose of switching to this form of production is to control all means of production and operate all aspects of film making from finance to production and distribution (Prasad-1998). The best example being Yashraj Productions. They have their own studios for recording, dubbing and editing and also have production equipments required for the shoot. With in the production  house they also have different sections like Yashraj Distribution for overseas and home market, Yashraj Music for all their audio sales and Yashraj Video for home video like DVD’s and VCD’s. It was one of the first production houses to hire management students from Indian Institute of Management, Ahmadabad (IIMA) to market their films and also to set up their whole business process. They also stated their own website to market and project their media image  (Dywer Patel- 2002). Professionalization has brought new and better modes of planning. There are changed practices of production where there are professionals working constantly for the better utilization of funds, bringing production costs down and maximizing the profits  Film production in India is becoming an organised business. The overall film industry is taking on professional colours. 1.3  Size and growth opportunities The total size of Indian film industry was estimated at around Rs.56.5bn (inr40 = usd1) WHEN was this?, it is  anticipated to touch a huge figure of about Rs.153bn by the year of 2010 with taking into account 18 percent compound annual growth rate (cagr) as per the estimates of  ficci-Pricewaterhouse- Coopers in the year 2006. On the whole, the Indian film industry was anticipated to be value of about usd1.8bn in the year 2006. On the basis of a thorough top-down analysis considering the share of private consumption as a proportion of gdp, the marketshare for media and entertainment (me) expenditures, and film budgets within the me space it was accounted that the Indian film industry will be valued in between usd4.4 and 5.1bn (between inr176bn and inr204bn) by 2011 (cii-A.T. Kearney 2007). The movie industry has been getting more and more corporatized. Many film production, distribution and exhibition houses are listed on the stock markets and they have raised capital through public issue. Several theatres around the nation have been developed into multiplexes and plans to build up additional digital cinema halls are by now in lime light. This will certainly not only enhance the quality of prints and thereby providing viewing a extra pleasant experience for the audiences but will also decrease the piracy of prints (ficci-PricewaterhouseCoopers 2006). These days piracy is a major issue for the Indian film industry. Not initiating nay major anti-piracy laws on the part of the government and an absence of educated officers that implements anti-piracy laws remains the vital issue. These are the main issue which is why the piracy business has not been able to control to a greater extent. This issue along with the lengthy legal and arbitration process is regarded as prevention to the fight against piracy. Apart from this the present Copyrights Act is also obsolete in conditions to technology enhancement and in addition, it does not deal with the requirements of the electronic media where the degree of piracy is amongst the maximum in present time. The Optical Disc Law draft established to deal with the requirement for regulating piracy at the manufacturing phase is still pending for the approval of the Indian ministry (ficci-PricewaterhouseCoopers 2006). As against to few developed markets where the home market symbolizes greater than 40% of total movie revenues, the home market share in India is comparatively small (8%), though, this share is anticipated to rise to about 14% by the year of 2010. The important pushers that will facilitate this are the rising amount of reasonably priced DVD players and lesser prices of original DVDs so as to battle the issues of piracy (cii-A.T. Kearney 2007). The Indian entertainment and media industry enjoys a lot of aid in the present times – be it regulations that permit foreign investment, the momentum from the economy, digital lifestyle and spending styles of the consumers, and also several opportunities the development in technology have to provide. The industry only has to do is to realize its growth potential and opportunities. The government is required to play a greater dynamic task in solving out the policy-related obstruction for the purpose of growth. The industry is required to get rid of all obstructions, like as piracy in an intensive way along with the measures to produce high-quality global class end products. The entertainment and media industry has all ingredients which it generally takes to turn into the star of Indian economy (ficci-PricewaterhouseCoopers 2006). There are two important movements that will basically transform the scene of the Indian film industry in the coming couple of years, namely digitization and a change in consumer preferences. Digitization will lead to consolidation and appearance of huge scale exhibition networks and, and apart from this, in the balance of power among producers-distributors and exhibitors. Changing customer preferences will lead to rising international acceptance of Indian films and in the upcoming of new media (cii-A.T. Kearney 2007). Growth opportunities in terms of Corporate production houses Indian film industry comprises of numerous regional clusters, and Bollywood is merely one of them. Bollywood is the cluster located in Mumbai, producing the biggest share of films (40%) mainly in Hindi (PWC FICCI, 2007). Bollywood is the oldest film cluster in India, dating back to early 20th century. Other film clusters in India like as one in Hyderabad, called â€Å"Tollywood† produces second biggest amount of films mainly in Telugu. While other clusters produce films chiefly in their local language. Growth opportunities in terms of Indian Film Industry 1.31 Current situation Currently the success ratios of films are very low at the box office. Only 10 to 20% of films break even or earn profits (Ganapathi, 2002; Pendakur, 2003; Ganti, 2004; Lorenzen Taeube, 2006) but most of the producers make money, recouping their investments through new auxiliary sources of revenue () like satellite rights music rights, home video rights(DVD),  video games, toys, computer wallpapers, ring tones, movie clips for mobile and selling ancillary rights. The new trend is product placement in films which brings in a lot of revenue and even helps in publicity of the film. In the period of 1998-2005 i.e after gaining the status of industry, the revenues in the films have grown by 360% this is including all revenues from advertising, selling of ancillary rights and music rights (Kholi- Khandekar, 2006; Lorenzen Taeube, 2006). The digital relay of films in cinema theatres is saving a lot of money as you don’t have to develop the physical print, which took a major share in a film budget.   The industry is losing more than 40% of its revenue through Piracy (David Hancock-1998). Copyright infringement of films is so wide spread in India it can be called as a ‘small scale industry’. Bootleg copies of DVD’s are available in the market on the same day the film officially releases in theatres or some times even before that. Pirated DVD’s and CD’s of Bollywood movies are available in most of the South Asian and South East Asian countries. The small cable television channels broadcast newly released films in their channels without paying any kind of compensation. Another problem is consumer copying which is very difficult to stop. To add on to this is Online Internet movies where consumers can download movies from websites like www.bhejafry.net, www.indiaonlinemovies.com and many more without actually paying anything. The technical skills of the Indian Film Industry has always been extraordinary but most of the time they had to settle for old and very poor quality of equipments.  But now due to huge market and Corporatisation they can afford to buy more sophisticated equipments. Digital facilities for Sound Recording, Dubbing, Editing is as good as anywhere in the world (Dwyer Patel, 2002). Bollywood has always been very enthusiastic about embracing new technologies in their films, and it is also been much quicker in doing this than the Hollywood (Currah, 2007). The Film Industry is using all the latest technologies like Arry 435 for the shoot, Avid and Mac products for post production work. Sync sound, D.I.(Digital Intermediate), Animations and special effects with Graphics are used extensively.  The Indian Film Industry can now even employ foreign technicians to work for them to improve the quality of the final product. In the blockbuster film KRRISH- (2006) the action sequence was choreographed by Tony Ching from Hong Kong and all the special effects for the film was done by Hollywood technicians (Minocha and Stonehouse- 2006). Globalisation has four facets, that is, movement of goods, capital, technology and people across borders. In terms of movement of goods (i. e., movies) Indian movie industry has a long history of presence in the global market. Awara was sent to the Soviet Union and other Communist bloc countries crazy in the year of1950s. Mehboob’s Aan had a French release after its premiere in London. Long before that Himansu Rai made visually stunning films in cooperation with the Germans in the early 1930s, like The Light of Asia and A Throw of Dice, and many more which were shown in Europe as Indian films with Indian stories. By then the Bombay film industry had been around for 35 years. The film industry is definitely as old as the cinema itself and surely older than Hollywood, which has its early development in the late 1900s (Desai 2007). The exports of the Indian movie have grown for approximately 60% in recent times. The USA and Canada are two main export locations witnessing for 30 percent than by the UK with 25% and Mauritius and Dubai with 10% each. Some other main markets comprise South Africa, Russia, Fiji, New Zealand and Australia where there is abundant Indian diasporas present. Making a film for the diaspora market is a certainly a moneymaking project as against to making a film for the Indian domestic market (Desai 2007). With the global audience, there is outstanding recognition of Indian movie themes along with sew of the cross-over films made by global movie production players. The profit earnings of these movies can be match up to to few of the Hollywood box office hits. A number of Bollywood movies have gained greater than 50% of their total gross profit margin from global box office collection. However it is a welcome movement that requires to be carried on. One of the significant success factors for these cinemas is to recognize ideas from within the Indian subjects which are liked by the audience. An additional important success factor is to associate with a top global distributor; films produced by the person of Indian origin have had up to 2–3 times greater global earnings as compared to the national bestsellers (cii- A.T. Kearney 2007). Table 2 reveals a series of cross over films and the revenue earning generated by these films. India has stated its determined plans to double its share in the international film industry by the end of this year. This shows the great determination of the country to build itself as a cultural as well as economic powerhouse. There are many reasons why we must believe that. To begin with, the government, which aims on considering Bollywood to set up India as a ‘soft power’, considers the Indian film industry is competent enough to capture five percent of the international market this season. The share at the present time is two percent (Johnson 2007). Kishore Lulla, the chief executive of Eros International, a uk