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Marketing Of Entertainment Services At Adlabs, Bangalore
M.P.BIRLA INSTITUTE OF MANAGEMENT 1
MARKETING OF ENTERTAINMENT SERVICES AT ADLABS,
BANGALORE
A DISSERTATION SUBMITTED IN PARTIAL FULFILMENT OF THE
REQUIREMENTS FOR THE AWARD OF MBA DEGREE OF
BANGALORE UNIVERSITY
BY
MANJUNATHA S.P.
Reg.No-05XQCM6045
Under the guidance and supervision
Of
DR K.V PRABHAKAR
Senior Professor
M P Birla Institute of Management
Bangalore
M P BIRLA INSTITUTE OF MANAGEMENT
(ASSOCIATE BHARATIYA VIDYA BHAVAN)
#43, Race Course Road, BANGALORE. 560001
May 2007
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DECLARATION
I hereby declare that this dissertation entitled “MARKETING OF
ENTERTAINMENT SERVICES AT ADLABS, BANGALORE”
is the result of my own research work carried out under the guidance and
supervision of Dr. K V Prabhakar, Senior Professor, M P Birla
Institute of Management, Bangalore
I also declare that this dissertation has not been submitted earlier to any
Institute/organization for the award of any degree or diploma
Place: Bangalore
Date: (MANJUNATHA S.P)
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CERTIFICATE
This is to certify that this dissertation entitled “MARKETING OF
ENTERTAINMENT SERVICES AT ADLABS, BANGALORE”
is the result of research work carried out by Mr. Manjunatha S.P under
the guidance and supervision of Dr K V Prabhakar, Senior Professor,
M.P. Birla Institute of Management, Bangalore.
Place: Bangalore (DR. Nagesh S Malavalli)
Date: Principal
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CERTIFICATE
I hereby certify that this dissertation entitled “MARKETING OF
ENTERTAINMENT SERVICES AT ADLABS, BANGALORE”
is the project work carried out by Mr. Manjunatha S.P under my
guidance and supervision
Place: Bangalore (Dr K V Prabhakar)
Date: Senior Professor
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ACKNOWLEDGEMENT
I am happy to express my gratitude to Dr. N. S. Malavalli, Principal, M.
P. Birla Institute of Management, Bangalore for having imparted many
valuable ideas to me for my project for my project.
I extend my sincere thanks to Professor Dr. K. V. Prabhakar Senior
Professor, M.P.Birla Institute of Management, Bangalore for
providing me all the Information required and the guidance throughout
the project without which this project would not have been possible.
Place: Bangalore
Date: (MANJUNATHA S.P)
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LIST OF CONTENTS
CHAPTERS TITLE PAGE NO.
1 EXECUTIVE SUMMARY 1-2
2 INTRODUCTION TO ENTERTAINMENT
AND MEDIA INDUSTRY
3-9
3 PROFILE OF ADLABS 10-14
4 ANALYTICAL FRAMEWORK OF
MARKETING OF ENTERTAINMENT
SERVICES
15-25
5 LITERATURE SURVEY 26-35
6 RESEARCH METHODOLOGY 36-40
7 PROFILE OF THE RESPONDENTS 41-43
8 DATA ANALYSIS AND INFERENCES 44-56
9 MAJOR RESEARCH FINDINGS,
CONCLUSIONS AND
RECOMMENDATIONS
57-59
10 ANNEXURE
SELECT BIBLIOGRAPHY
QUESTIONNAIRE
DIRECTIONS FOR FURTHER
RESEARCH
60-65
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LIST OF TABLES
SL.NO TABLE TITLESPAGE
NO.
1TABLE SHOWING HOW RESPONDENTS ARE
AWARE OF ADLABS
44
2TABLE SHOWING SOURCES THROUHG WHICH
RESPONDENTS CAME TO KNOW ABOUT ADLABS45
3
TABLE SHOWING NUMBER OF RESPONDENTS
WHO ARE SATISFIED WITH THE SERVICES
OFFERED BY ADLABS
46
4
TABLE SHOWING NUMBER OF RESPONDENTS
WHO ARE HAPPY WITH ADLABS IMAX AND
EXCLUSIVE THEATRE SERVICES
47
5
TABLE SHOWING NUMBER OF RESPONDENTS
WHO STATED ADLABS PROMOTIONAL
ACTIVITIES ARE EFFECTIVE
48
6
TABLE SHOWING RATINGS GIVEN BY THE
RESPONDENTS FOR PROMOTIONAL ACTIVITIESOF ADLABS IN TERMS OF EFFECTIVENESS
49
7
TABLE SHOWING THE NUMBER OF
RESPONDENTS WHO STATED THAT ADLAB'S
FUN INNOVATION IS VERY EFFECTIVE FOR
DIFFERENT AGE GROUPS OF PEOPLE
50
8
TABLE SHOWING NUMBER OF RESPONDENTS
WHO STATED THAT ADLABS IS THE MARKET
LEADER IN THE PROCESSING OF THE LARGEST
NUMBER OF HINDI FILMS EVERY YEAR
51
9
TABLE SHOWING NUMBER OF RESPONDENTSWHO STATED THAT ADLABS 3D IMAX FLAT
SCREEN IS VERY EFFECTIVE52
10
TABLE SHOWING NUMBER OF RESPONDENTS
WHO INDICATED THE FREQUENCY OF THEIR
VISITS TO ADLABS (MONTHLY)
53
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11
TABLE SHOWING NUMBER OF RESPONDENTS
WHO AGREED THAT ADLABS TELEVISION
CAREERS ARE YOUTH- ORIENTED
54
12
TABLE SHOWING NUMBER OF RESPONDENTSWHO HOLD THE OPINION THAT ADLABS
PROVIDES THE ENTERTAINMENT SERVICES AT
LOWER COST OF PRICE
55
13
TABLE SHOWING NUMBER OF RESPONDENTS
WHO STATED THAT THE ADLABS
ENTERTAINMENT HUB HAS THE CUTTING THE
EDGE TECHNOLOGY
56
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LIST OF GRAPHS
SL.NO GRAPHS TITLE PAGE NO
1 GRAPH SHOWING DIFFERENT AGEGROUPS OF RESPONDENTS WHO ARE
AWARE OF ADLABS ENTERTAINMENT
INDUSTRY
41
2 GRAPH SHOWING NUMBER OF
OCCUPATIONAL RESPONDENTS SHOULD
AWARE OF ADLABS ENTERTAINMENT
INDUSTRY.
42
3 GRAPH SHOWING NUMBER OF MALES
AND FEMALES WHO ARE AWARE OF
ADLABS ENTERTAINMENT INDUSTRY
43
4 GRAPH SHOWING THE NUMBER OF
RESPONDENTS WHO ARE AWARE OF
ADLABS
44
5 GRAPH SHOWING SOURCES THROUGH
THE RESPONDENTS HAVE COME TO
KNOW OF ADLABS ENTERTAINMENT
SERVICES
45
6 GRAPH SHOWING NUMBER OF
RESPONDENTS WHO ARE SATISFIED
WITH THE SERVICES OFFERED BYADLABS
46
7 GRAPH SHOWING NUMBER OF
RESPONDENTS WHO ARE HAPPY WITH
ADLABS IMAX AND EXCLUSIVE
THEATRE SERVICES
47
8 GRAPH SHOWING NUMBER OF
RESPONDENTS WHO SAID THAT ADLABS
PROMOTIONAL ACTIVITIES ARE
EFFECTIVE
48
9 GRAPH SHOWING RATINGS GIVEN BY
THE RESPONDENTS FOR PROMOTIONAL
ACTIVITIES OF ADLABS IN TERMS OF
EFFECTIVENESS
49
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10 GRAPH SHOWING THE NUMBER OF
RESPONDENTS WHO STATED THAT
ADLAB'S FUN INNOVATION IS VERY
EFFECTIVE FOR DIFFEENT AGE GROUPS
OF PEOPLE
50
11 GRAPH SHOWING NUMBER OF
RESPONDENTS WHO STATED THAT
ADLABS IS THE MARKET LEADER IN
THE PROCESSING OF THE LARGEST
NUMBER OF HINDI FILMS EVERY YEAR
51
12 GRAPH SHOWING NUMBER OF
RESPONDENTS WHO STATED THAT
ADLABS 3D IMAX FLAT SCREEN IS VERY
EFFECTIVE
52
13 GRAPH SHOWING NUMBER OF
RESPONDENTS WHO INDICATED THE
FREQUENCY OF THEIR VISITS TO THE
ADLABS (MONTHLY)
53
14 GRAPH SHOWING NUMBER OF
RESPONDENTS WHO OPINIONED THAT
ADLABS TELEVISION CAREER IS
YOUTH- ORIENTED
54
15 GRAPH SHOWING NUMBER OF
RESPONDENTS WHO STATED THAT
ADLABS IS PROVIDING THE
ENTERTAINMENT SERVICES AT LOWER
PRICE
55
16 GRAPH SHOWING NUMBER OF
RESPONDENTS WHO STATED THAT THE
ADLABS ENTERTAINMENT HUB HAS THE
CUTTING THE EDGE TECHNOLOGY
56
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EXECUTIVE SUMMARY
Entertainment Industry today is being re-defined…in terms of content,
delivery mechanisms and the emerging technologies. The Film Industry is
overwhelmed by the growth of multiplexes, which has changed not only the
entire entertainment experience for the consumers but also impacted the movie-
making business. The Television Industry continues to boom - new channels
being launched and new content formats emerging such as reality shows, niche
and kid’s channels. Here again, emerging technologies such as broadband and
digitalization will pave the way for growth in this segment.
The Indian entertainment and media (E&M) industry has out-performed
the Indian economy and is one of the fastest growing sectors in India. The
E&M industry generally tends to grow faster when the economy is expanding.
The Indian economy has been growing at a fast clip over the last few years, and
the income levels too have been experiencing a high growth rate. Above that,
consumer spending is also on the rise, due to a sustained increase in disposable
incomes, brought about by reduction in personal income tax over the last
decade. All these factors have given an impetus to the E&M industry and are
likely to contribute to the growth of this industry in the future.
Based on industry feedback, additional sections showcasing the
emerging International Trends in each segment have been included in this
year’s report. We thank Adlabs for drawing the necessary knowledge from
their global resources for this endeavor. Their effort to present the content of
the report in a form that is interesting and useful, not only to the industry
people but also the public at large is greatly appreciated.
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The crux of the problem is the Formulation of Innovative Marketing
Strategies of Entertainment Services at Adlabs, Bangalore. The research
objectives include examination the services offered by Adlabs IMAX and
Exclusives, ascertaining the customer satisfaction level and explore the fun
innovation of Adlabs.
Our research investigation indicated that the Adlabs promotional
activities are very effective; services are youth-oriented and have the cutting
edge technology. However constant innovation is needed to sustain its
distinctive competitive advantage.
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INTRODUCTION TO ENTERTAINMENT &
MEDIA INDUSTRYToday, new media of all types must be considered when considering the
scope of the entertainment and media industry. The number of broadband
Internet connections in the U.S. has reached true mass market in size, at about
50 million lines as 2006 ended. Comcast (the cable TV provider) alone has 11
million high-speed Internet subscribers. Advertising on the Internet is now a
$16 billion industry. Most recently, the "Third Screen" (cell phone-based
entertainment including video and music) is becoming a major factor inentertainment and media. Total spending (including advertising) in the U.S. on
media of all types was about $900 billion in 2006. U.S. advertising spending
alone was about $296 billion.
Broadly measured, the entertainment and media industry spans multiple
sectors, from America's 9,042 FM radio stations, to the 1.4 billion movie
tickets sold each year. The gambling sector with $57 billion in annual revenues
is often included when considering entertainment as a whole.
Meanwhile, revenues are mixed at traditional entertainment and media
segments. Book sales were up about 10% in the U.S. for 2005, at $25 billion,
after falling slightly in 2004. Movie theater attendance is up, reversing a sharp
fall after 1999. The traditional, storefront video rental sector is suffering due to
alternatives including Netflix, TiVo and video-on-demand services.
Newspapers are finding it increasingly difficult to compete against Internet
news and advertising delivery rivals. Recorded music sales on CD-ROM
continue to suffer while sales of digital music files are soaring. Traditional
radio broadcasting is suffering, finding it increasingly difficult to gather
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listeners for advertising-based radio programming due to such
alternatives as satellite radio and digital MP3 players.
The burning issue affecting all sectors of the entertainment and media
industry is maintaining control of content and audiences while taking
advantage of myriad new electronic delivery venues. Competition in the
entertainment sector is fierce. Gone are the days when television and radio
programmers enjoyed captive audiences who happily sat through ad after ad, or
planned their schedules around a favorite show. Consumers, especially
consumers in younger demographics, now demand more and more control over
what they watch, read and listen to.
Issues related to control include:
1) Pricing for content (including free-of-charge access; illegal
downloads versus authorized downloads; and full ownership of a paid
download versus pay-per-view).
2) Portability (including the ability for a consumer to download once,
and then use a file on multiple platforms and devices including iPods and cell
phones, or the ability to share a download with friends).
3) And delayed viewing or listening (such as viewing TV programming
at the consumer's convenience via TiVo and similar personal video recorders).
The competition among entertainment delivery platforms has
intensified; all sectors face daunting challenges from alternative delivery
methods. For example, satellite radio delivery (XM and Sirius) of subscription-
based music and talk programming has hit its stride multimillion subscriber
counts for Sirius and its competitor XM. Another example: telecommunications
companies such as AT&T (formerly known as SBC Communications) are now
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delivering television programming to the home via telephone wires,
battling cable and satellite TV firms for market share.
Today, electronic offerings such as DVDs, personal video recorders
(PVRs), video-on-demand (VOD) and MP3 players have vastly altered the way
consumers enjoy entertainment. People watch and listen according to their own
desires and whims. Miss the finale to a favorite television show? Rent or buy it
on DVD or record it to watch later. Interested in only one track from a
recording artist's new CD? Buy and download just the one song via the
Internet. Love a prime-time drama on a major network but hate commercials?
Record the show while skipping over the commercials with a PVR.
The implications of these changes are staggering. The business models
upon which most entertainment companies have traditionally run are becoming
obsolete. Revenue from traditional advertising is in jeopardy while revenue
from subscription-based business models is soaring. Online advertising is
growing at supersonic speed. Television programming schedules are losing
relevance while electronic program guides are becoming more and more vital.
Traditional media are losing share while new digital media are becoming the
norm. Entertainment companies are being forced to radically change to deal
with new technologies and new demands from consumers.
Rapid changes in viewing habits are already occurring. Network TV
news, radio news and newspapers all find that they have to compete fiercely
against Internet-based news content. A large portion of sports programming has
migrated away from "free" broadcasts on TV and onto paid cable channels andpay-per-view systems.
Meanwhile, platforms and delivery are evolving quickly. Multipurpose
cell phones are now used for more and more entertainment purposes, including
video and TV-like programming. Game machines are going multipurpose with
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the ability to connect to the Internet and play DVDs. Broadband to the home
has reached the mass-market tipping point, while wireless broadband systems
such as Wi-Fi are enhancing the mobility of entertainment and media access. A
serious evolution of access and delivery methods will continue at a rapid-fire
pace, and media companies will be forced to be more nimble than ever.
Sony's new PlayStation 3 utilizes a supercomputer-like chip called
"Cell" that has the potential to revolutionize the electronic games industry due
to its ability to run highly realistic, advanced software at amazing speed.
Recommendation software that learns the habits and tastes of consumers
will evolve and will do a better job of pushing appropriate entertainment
choices toward audiences. Amazon.com has long been a leader in the use of
such software. Netflix has created an admirable package of its own. Likewise,
Apple's iTunes software is strong on recommending content to customers.
Some interesting mergers might be driven by the potential to use extremely
powerful recommendation software to attract and better serve consumers across
multiple types of entertainment media.
The gambling sector remains strong, with massive new projects in Las
Vegas and Macau, along with experienced operators rushing to rebuild the Gulf
Coast casinos that were wiped out by 2005's hurricanes.
Advertising, long the main revenue source for much of the media
industry, is rapidly moving to the Internet, as shown by the incredible financial
success of Yahoo! and Google, among other search sites that offer advertisingservices.
You should count on continued, rapid changes: The revolution in new
media continues, platforms will evolve quickly, consumers will obtain even
greater control and competition will become even hotter.
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Entertainment and media industry in India
Today’s India is seen as one of the most happening market place in the
global market. Currently India is one of the best performing economies in the
world.
The magnitude of The Indian Entertainment and Media Industry can be
made out from the fact that it has out-performed the Indian economy and is one
of the fastest growing sectors in India, riding on the back of economic growth
and rising income levels that India has been experiencing in the past years with
the onus of global entertainment industry expected to touch $1.8 trillionshifting towards the Asian region, India is well poised to garner a sizable share
of it. India’s film industry is already the largest producer of feature films in the
world.
In the context of Indian Entertainment and Media industry, the Filmed
Entertainment and Television segment dominate the industry followed by the
Print, Radio and the Music segments. The Indian Entertainment and Media
Industry offers ample opportunities for investing be it animation, films,
dubbing, music etc. This report covers all the important aspects related to the
industry with useful and important data thus offering a useful insight to the
investor/reader looking to invest in this sector.
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Entry of new players
The year 2005 saw the entry of new players across all segments of theE&M industry. The most prominent entry was that of the Reliance Group in the
filmed entertainment and radio segment. During 2005, Reliance Capital bought
a majority stake in Adlabs which enabled it to have a presence across the entire
value chain of the filmed entertainment segment ranging from film production,
exhibition and distribution. Through Adlabs, Reliance also made its entry into
the radio segment by bidding for over 50 FM radio stations across the country
with aggregate bids of over INR 1.5 billion. The other significant entry into the
entertainment and media segment was that of the Tata group, through its
subsidiary Videsh Sanchar Nigam Limited (VSNL). VSNL tied up with the
Paris-based Thomson Group in 2005 with the objective of identifying
opportunities in managing and delivering content for third parties, including
broadcasters and content providers. Thomson Group also recently announced
its partnership with Tata Sky Limited for manufacturing set-top-boxes and
providing sales service and support network for their DTH customers. Foreign
investment Owing to the strong impetus for growth from the economic and
demographic factors coupled with some regulatory corrections, the sector also
recently witnessed increasing foreign investment inflows in most segments of
the E&M industry, especially the print media. Recent examples include foreign
investment in English dailies such as Hindustan Times and Business Standard
by Henderson Global and Financial Times respectively. Vernacular media too
saw its share of foreign investment with a strategic equity investment by
Independent News & Media in Dainik Jagran, a leading Hindi Daily. In the
broadcasting space, most channels beaming into India (such as Walt Disney,
ESPN-Star Sports, Star, Discovery, BBC etc.) have established foreign
investment subsidiary companies for content development and advertisement
airtime sales. In the television distribution space arena, foreign investment is
being drawn by the larger cable operators referred to as ‘multi-system operators
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(MSO)’ such as Hathway and Hindujas. In the television content space, the
recent investment in Nimbus Communications by a foreign private equity
player is seen as the start of a significant trend of foreign investment inflows.
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PROFILE OF ADLABS
Adlabs is by far the largest entertainment conglomerate in the country.
Thought leaders in every sense of the word, they have been the defining force
in every sphere of the entertainment industry - production, distribution,
processing or in cinemas - for over three decades now. Be it pioneering the
concept of multiplexes, giving a corporate face to movie making, or
introducing the IMAX experience, it has always been Adlabs first - in short, it
was 'never a dull moment' for the industry.
June 2005, marked the milestone in Adlabs when Reliance ADAG
stepped into the company and became majority promoter shareholders. With
this move Adlabs was catapulted to being part of one of the leading business
groups in India with a combined market capitalization exceeding One Lakh
crores.
This management expertise and resources acted as a catalyst in
synergizing various interrelated businesses: animation, distribution, radio and
digital cinema to name a few. Today we are the entertainment hub for top notch
talent and cutting edge technology.
Adlabs offers you the opportunity to be part of India’s fastest and
largest growing entertainment conglomerate. In other words, a chance to work
with the best in the industry, as part of world-class teams, comprising nearly1100 motivated individuals, that tackle new challenges every day; in a
company that is as committed to its employee’s growth as it is about its own
success
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Business Description
Adlabs Film Ltd. The Company's principal activities are to provide
feature films, television, entertainment and other related services in India. The
Company operates in two segments Commissioned programmes which
includes the sale of television serials to channels and Sponsored programmes
which includes the telecasting of television serials on channels.
Founder:
Adlabs was founded by Manmohan Shetty, widely accepted as a
visionary in the Indian film industry. In 1978 along with Vasanji Mamania, he
started Adlabs a small film processing unit that catered to ad films. In 1989, the
firm entered mainstream cinema processing and has never looked back since.
Today, we process more than 60 percent of all Hindi films produced in India.
Mr. Shetty pioneered many technological advances at Adlabs, including
blowing up 16mm film to 35 mm and introducing advanced color correction
processes in India.
An ardent film buff, he believed in nurturing talent and this led to a
separate division for movie production. With the economy on the upswing, and
fast-changing lifestyles in the metropolises, he also anticipated great scope for
the multiplex business and made a timely entry into this segment in 2001 by
launching India's first IMAX theatre in Mumbai. Today, various Adlabs
Cinemas constitute some of the country's most popular and premium
entertainment destinations.
ManMohan Shetty has recently completed his term as Chairman of the
National Film Development Corporation.
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OVERVIEW
MOVIES
Besides live action films we have entered the world of animation
starting with a full-length feature on South Indian superstar, Rajnikanth, and a
film on the apparel brand characters Gini & Jony.
Our endeavour is to constantly develop, produce and distribute highly
entertaining films across various genres. While we continue to be a dominant
player in this industry, we are also well on our way towards playing a key role
in transforming the Indian film industry into a global industry using innovative
business models.
CAREERS
Adlabs offers you the opportunity to be part of India’s fastest and largest
growing entertainment conglomerate. In other words, a chance to work with the
best in the industry, as part of world-class teams, comprising nearly 1100
motivated individuals, that tackle new challenges every day; in a company that
is as committed to its employee’s growth as it is about its own success.
If Adlabs excites you as a career option, send us a brief note about yourself.
Evan Menezes, our Corporate Head, HR, will get back to you the moment we
have something promising.
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TELEVISION
Adlabs forayed into television content creation, initially focusing on a
repertoire of youth-oriented, reality-based programmes, by becoming majority
stakeholders of Siddhartha Basu's Synergy Communications. Synergy, a wellknown name in the business, has been associated with some of the most
popular and groundbreaking programmes on Indian television - Kaun Banega
Crorepati, Mastermind and now Jhalak Dikhhla Jaa.
The new entity Synergy Adlabs will use our combined forces, abilities
and expertise to create exciting and varied fare for television, both in India and
the world.
SERVICES
Today Adlabs is the market leader, processing the largest number of
Hindi films every year with a record-breaking number of prints.
Long-standing business relationships and a technologically advanced
facility (including a high quality lab for processing raw exposed films, colour
correction, editing and making multiple prints for final distribution, and a well-
appointed preview theatre at Film City, Goregaon) have made us the most
sought-after film processing laboratory in India.
Currently, Adlabs enjoys a 70% market share in the Hindi films in the
film processing and printing business. Along with films, we continue to focus
on quality negative processing for the advertising industry.
In 2005, Adlabs received the prestigious Kodak Image care Program
Negative Processing Accreditation. With it, Adlabs joined an elite club of
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processing labs in the world recognized for the highest quality and standards in
motion picture film handling and processing, and most efficient practices.
They have further consolidated our dominant position with numerous
other prestigious awards for the quality of our film processing.
CINEMAS
In the year to come, 13 million people are expected to watch a movie on
an Adlabs screen. With two IMAX theaters, 13 cinemas, 50 screens and
counting, Adlabs cinemas is one of the largest motion picture exhibitors in the
country.
In keeping with Adlabs' reputation for innovating and introducing high-
end technologies to enhance the movie experience, we recently added a 3D
IMAX flat screen in NCR and there is a third IMAX screen in Kolkata in the
pipeline.
All in all, plans are underway for a large chain of cinemas in the top 10
cities including Delhi, Kolkata, Hyderabad and Bangalore. We are also looking
at ramping up operations in northern India and the second phase will include
expansion to tier 2 cities.
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ANALYTICAL FRAMEWORK OF
MARKETING OF ENTERTAINMENT
SERVICES
Entertainment services include all those services that help a person feel
entertained and relaxed. The various forms of entertainment include music,
movies, sports, animation, television shows, and the more modern forms such
as go-karting, bowling alleys, theme parks and family entertainment centers.
Music and movies have a worldwide appeal and provide the service providers
with a lot of scope for growing their business.
An understanding of how entertainment services influence consumer
behavior is essential for marketers of entertainment services to promote their
services. The global music and movie industry has been segmented on the basis
of revenue generated and geographic territory or location of markets. The free
MP3 downloads and piracy of content has been the concern of music and
movie producers across the world.
In order to counter the threat from these sources, entertainment service
providers have to devise strategies that will help them counter the threats they
face as well enhance the growth of their business. After having developed a
marketing strategy, entertainment service firms must exploit all the seven
marketing mix elements (product, price, place, promotion, people, physical
evidence and process) to differentiate themselves from their competitors and
attract new consumers to their service.
The recent trends taking place in the global entertainment sector include
the online availability of entertainment content, piracy or unauthorized
duplication of content, mergers and consolidation taking place among
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entertainment companies, both at a global as well as domestic level, and the
evolving forms of media, digitization and other media technologies.
These trends in entertainment services make it crucial for entertainment
service providers to develop new strategies to take advantage of these trends
and counter threats, if any.
Compared to the entertainment industry in other parts of the world,
especially that in the USA, the entertainment industry is relatively fragmented
and disorganized and makes it necessary for the Indian companies in the
industry to adopt an entirely new business model in order to achieve growth in
the industry.
India is witnessing the growth of multiplexes that offer better viewing
experience to the customers. The growth prompted many players such as PVR,
INOX, Satyam Cineplexes, and Shringar Films to enter this segment. The
caselet provides details about the features of INOX multiplexes that set them
apart from the competition. It outlines the expansion strategy of INOX which
wants to become a national player in this segment.
The Indian music and entertainment industry witnessed unprecedented
momentum in the late 1990s and early 2000s. Improvements in packaging,
branding and sale of the final products were accompanied by rapid acceleration
in the areas of technological development and customer centric innovations
characterized by modern multiplexes and music stores. Changing lifestyles and
increasing disposable income had given a boost to the media and entertainmentindustry. According to 2004 estimates, around 68% of the total adult
population in the country had access to the conventional forms of media. Some
of the fastest growing segments in the domestic entertainment industry include
music, cable and satellite television, animation and FM.
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A report compiled jointly by FICCI and Ernst and Young forecasted that
the size of the Indian entertainment industry would more than double from Rs
192,000 million in 2003 to Rs 423,000 million in 2008. With the opening up of
global entertainment avenues to domestic consumers, the growth in this
segment was expected to continue at a steady pace in the coming years. Several
positive developments like the accordance of the 'industry' status to the film
industry, satellite channel penetration, the retail boom in the channels for music
sales (Music World & Planet M), the use of digital technology in all spheres of
entertainment, customer centric innovations like 'hamaraCD', 'Qjam', video-
parlors and the growth of multiplexes had contributed to the growth of this
sector.
The entertainment industry was entering a consolidation phase as
borders between films, music and television were fast disappearing. Skills and
resources were being pooled extensively and multiplexes which included a host
of entertainment paraphernalia were growing phenomenally. Besides
adaptation to high-end digital technology, the entertainment industry was also
witnessing rapid development of state-of-the-art studios and post production
facilities. Layout planning, publicity and advertisement efforts and the creation
of a user-friendly ambience to attract customers were being given a great deal
of importance. In the selling of recorded music, the main areas of growth were
the chain -stores such as Music World and Planet M, promoted by large
corporate groups like the RPG group and the Times Group respectively. A
majority of the marketing efforts of these retail chains were directed towards
building shop-in-shops - Music World called them 'Unplugged stores', while
Planet M referred to them as 'satellites' - in a conscious attempt to reach out tocustomers, increase visibility and encourage impulse purchases.
Before organized retailing was established, music cassettes and CDs
were sold through a huge network of distributors and retailers spread all over
the country. These ranged from small kiosks selling cigarettes and tobacco to
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general stores that 'also sold music and from gift/stationery and electronic
goods shops to local chains of music stores. Though there were outlets such as
Rhythm House in Mumbai (Maharashtra), Sangeet Sagar in Hyderabad
(Andhra Pradesh) and Rhythms in Bangalore (Karnataka), they catered only to
customers in a particular city. The issues of piracy and counterfeit products
were also a major problem, hampering the industry from reaching its full
growth potential. Given this backdrop, the establishment of outfits such as
Music World was a welcome change for the industry. These specially laid-out,
customer-friendly outlets allowed companies to not only maximize their profit
margins and reduce their dependency on the distribution channels, but also to
gauge consumers' changing perceptions and revamp their product offerings
accordingly. The outfits also helped to put up substantial resistance to piracy by
tracking customer preferences and ensuring ready stocks.
The new brick and mortar setups in the legal music industry also
provided an answer to the challenge of illegal online download formats. Most
retail stores made conscious efforts to tackle the situation and create viable
opportunities out of the perceived threat. Once the download format attained
maturity in the Indian market, Music World was ready to host a site at short
notice. The inputs for the site, musicworld4u.com, were fed on a continuous
basis. Driving on the strength of the group's portal, Planet M was also reputed
to have a significant online presence. A major breakthrough in this field was
the creation of hamaracd.com by Saregama India Ltd. (the erstwhile
Gramophone Company of India Ltd). Hamaracd.com was a unique site where
Indian music lovers could access a vast database of more than 25,000 songs
across 16 genres and create their own music CD with their favorite songs,image and a CD title.
Industry analysts believed that complete customization, comfort,
convenience and quality were becoming the redefining traits that characterized
the music and entertainment industry in India in the early 2000s.
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As more forms of media and entertainment become digitized, content
producers and distributors face new challenges brought on by file-sharing
programs such as Napster, and the vast opportunities created by multi-channel
distribution. Media and entertainment companies can now explore new
strategies for generating additional revenues from media assets by distributing
and marketing them across a wide spectrum of devices and channels. To
leverage content across multiple channels and personalize it for targeted
delivery, these companies require sophisticated tools that will allow efficient
management of content and audience relationships. To eliminate patchworks of
diverse divisions and disparate systems, large multinational media
organizations can align and integrate assets, technologies, and business
processes to reduce costs. Using more cost-effective digital marketing tools
will help these companies to achieve better ROI on marketing effort
Current status of the industry and its growth potential
The Indian economy continues to perform strongly and one of the key
sectors that benefits from this fast economic growth is the E&M industry. This
is because the E&M industry is a cyclical industry that grows faster when the
economy is expanding. It also grows faster than the nominal GDP during all
phases of economic activity due to its income elasticity wherein when incomes
rise, more resources get spent on leisure and entertainment and less on
necessities. Further, consumption spending itself is increasing due to rising
disposable incomes on account of sustained growth in income levels, and this
also builds the case for a strong bullish growth in the sector.
The size of E&M in India is currently estimated at INR 353
billion and is expected to grow at a compounded annual growth rate of 19
percent over the next five years.
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The television industry continues to dominate the E&M industry by
garnering a share of over 42 percent, which is expected to increase by a further
9 percent to reach about 51 percent. The share of the film industry, which
currently stands at 19 percent, is not expected to change materially over the
next five years. Print media, which stands at over 31 percent, is projected to
lose some of its share in favour of the emerging segments.
The Indian entertainment and media industry today has everything going
for it - be it regulations that allow foreign investment, the impetus from the
economy, the digital lifestyle and spending habits of the consumers and the
opportunities thrown open by the advancements in technology. All it has to do
is to cash in on the growth potential and the opportunities. The government, on
its part, needs to play a more active role in sorting out policy-related
impediments to growth. The industry needs to fight all roadblocks- such as
piracy- in a concerted manner, while churning out high-quality, world class end
products. The entertainment and media industry has all that it takes to be a star
performer of the Indian economy.
Key growth drivers
Television
Subscription revenues are projected to be the key growth driver for the
Indian television industry over the next five years. Subscription revenues will
increase both from the number of pay TV homes as well as increased
subscription rates. The buoyancy of the Indian economy will drive the homes,
both in rural and urban (second TV set homes) areas to buy televisions and
subscribe for the pay services. New distribution platforms like DTH and IPTV
will only increase the subscriber base and push up the subscription revenues.
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Filmed entertainment
Indians love to watch movies. And advancements in technology are
helping the Indian film industry in all the spheres – film production, film
exhibition and marketing. The industry is increasingly getting more
corporative. Several film production, distribution and exhibition companies are
coming out with public issues. More theatres across the country are getting
upgraded to multiplexes and initiatives to set up more digital cinema halls in
the country are already underway. This will not only improve the quality of
prints and thereby make film viewing a more pleasurable experience, but also
reduce piracy of prints.
Print media
A booming Indian economy, growing need for content and government
initiatives that have opened up the sector to foreign investment are driving
growth in the print media. With the literate population on the rise, more people
in rural and urban areas are reading newspapers and magazines today. Also,
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there is more interest in India amongst the global investor community. This
leads to demand for more Indian content from India. Foreign media too is
evincing interest in investing in Indian publications. And the internet today
offers a new avenue to generate more advertising revenues
Radio
The cheapest and oldest form of entertainment in the country, which was
hitherto dominated by the AIR, is going to witness a sea-change very shortly.
In 2005, the government opened up the sector to foreign investment – and this
is the key factor that will drive growth in this sector. As many as 338 licenses
are being given out by the Indian government for FM radio channels in 91 big
and small towns and cities. This deluge of radio stations will result in rising
need for content and professionals. New concepts like satellite, internet and
community radio have also begun to hit the market. Increasingly, radio is
making a comeback in the lifestyles of Indians.
Music
The industry has been plagued by piracy and had been showing very
sluggish growth over the last few years, both in India and globally. However,
‘mobile music’ and ‘licensed digital distribution’ services are projected to fuel
the recovery of the music industry the world-over. The pace of growth in
mobile music reflects the fact that consumers increasingly view their wireless
device as an entertainment medium, using those devices to play games and
listen to music, while carriers are actively promoting ancillary services such as
ringtones to boost average revenue per user. Ringtones currently constitute thedominant component of the mobile music market. Licensed digital distribution
services are also contributing significantly to growth in all regions.
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Live entertainment
This segment of the entertainment industry, also known as event
management, is growing at a fast and steady rate. While this industry is stillevolving, Indian event managers have clearly demonstrated their capabilities in
successfully managing several mega national and international events over the
past few years. In fact, event managers are also developing properties around
events. The growing number of corporate awards, television and sports events
are helping this sector. With rising incomes, people are also spending more on
wedding, parties and other personal functions. However, issues like high
entertainment taxes in certain states, lack of world-class infrastructure and the
unorganized nature of most event management companies, continue to
somewhat check the potential growth in this segment of the industry.
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Barriers to investment in the entertainment and media industry
A lot more investment can be drawn into the entertainment and media
industry if certain sectoral policy barriers can be addressed. Some of the issues
that need to be addressed which commonly impacts all segments and need to be
addressed urgently include:
1. Piracy
The problem of piracy assumes a different proportion in a country such
as India with an area of 3.3 million sq. km. and a population of over 1 billion
speaking 22 different languages. It impacts all segments of the industry
especially films, music and television. Most of the credible efforts today to
combat piracy have been initiated by industry bodies themselves. On part of the
government, lack of empowered officers for enforcement of anti-piracy laws
remains the key issue that is encouraging the menace of piracy. This, coupled
with the lengthy legal and arbitration process, is being viewed as a deterrent to
the crusade against pirates. The current Copyrights Act too is dated in terms of
technology improvements, and above all, it does not address the needs of the
electronic media which has maximum instances of piracy today. The draft of
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the Optical Disc Law to address the need for regulating piracy at the
manufacturing stage is still lying with the ministry for approval.
2. Lack of a uniform media policy for foreign investment
The sector currently lacks a consistent and uniform media policy for
foreign investment. Some of the inconsistencies include different caps in
foreign direct investment in various segments. This is enumerated below:
Television distribution: DTH 49% (strategic FDI only 20%); cable 49%
(ownership can only be with India citizens). Content (news): Television and
print - 26%; radio - nil• Content (non-news): Television and print - 100%; radio
20% (only portfolio)
3. Level playing field with incumbents Most Sectors of the Indian E&M industry have traditionally operated under
various agencies of the Indian government, which were later opened to the
private players in various stages. FM radio is one such example where the
incumbent All India Radio (AIR) was the sole player in the medium of both
AM and FM radio broadcasting. Limited frequencies of FM broadcasting have
been opened to the private players but with a licence fee, which is not currently
applicable to the incumbent AIR. Similarly, in television segment, all terrestrial
broadcasting rights continue to be with the incumbent Doordarshan.
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LITERATURE SURVEY
1.ADLABS TO SPIN DISTRIBUTION NETWORK
BY: MEENAKSHI VERMA ON TIMES NEWS NETWORK [TUESDAY,
APRIL 24, 2007 03:19:01 AM
NEW DELHI: ADAG-owned Adlabs Films is foraying into distribution of
non-Indian movies with Spiderman-3, in collaboration with Percept Picture
Company. Adlabs, which plans to distribute about 15-18 movies every year,
expects non-Indian movies to contribute 15% to the total distribution revenues
.
Says Adlabs Distribution COO Sunir Kheterpal: “We expect the
distribution business to contribute over Rs 100 crore this year, with about Rs 15
-18 crore expected to come from distribution of non-Indian movies.” Adlabs
will release over 250 prints — a major percentage of the total 600 prints being
distributed all over India — in territories like Mumbai, Gujarat, Delhi-NCR,
Uttar Pradesh and Punjab
.Adlabs has established overseas distribution offices in US and the UK in
2006, and domestic distribution offices in Delhi, UP, Punjab and Mumbai more
recently. The company aims to distribute six-eight Eng-lish movies every year,
of the total 15-18 films it would distribute in these territories.
“For a blockbuster English movie like Spiderman-3, rights are as ex-
pensive as that for any big budget Indian movie. But we also expect the number
of screens showcasing English movies to increase considerably,” Mr Kheterpal
said. Adlabs would be acquiring the DVD and satellite rights of the movies in
bulk and would sell it to broadcasters and DVD manufacturers as part of its
distribution model.
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Having started its domestic distribution business with Mani Ratnam's Guru
in January 2007, Adlabs also released Black Friday (February 2007) and the
recent hit, Bheja Fry (April 2007). Adlabs' future re-leases include
Priyadarshan's Dhol, Anubhav Sinha's CASH, Mudassar Aziz's Dulha Mil
Gaya and Anurag Basu's Suicide Bomber.
According to the latest Ficci-PricewaterhouseCoopers report, the Indian film
entertainment industry, which currently stands at Rs 8,500 crore, will touch Rs
17,500-crore by 2011. Also, the home box office collection will increase to Rs
11,900 crore from Rs 6,400 crore and the home video market will grow to Rs
2,500 crore by 2011.
meenakshi.verma@timesgroup.com
2. ADLABS ENTERS HOLLYWOOD
BY: BUSINESS LINE NEWS PAPER (THE HINDU GROUP OF
PUBLICATION) FRIDAY, JUNE 16, 2006
Mumbai, June 15
Adlabs Films Ltd is entering into mainstream Hollywood.
The Anil Ambani Group company has informed BSE that it has entered
into a co-production, film financing deal with Hyde Park Entertainment Group,
a production, financing and international sales company promoted by Mr
Ashok Amritraj.
Adlabs Films Ltd has earlier set up wholly owned subsidiaries in the UK
and the US for its overseas distribution of Indian films, film co-production and
post production business.
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Mr Amritraj had announced at Frames 2006 that his company, Hyde Park
Entertainment Group, was looking at tie-ups with Indian companies for
producing films.
Shares of Adlabs moved up by Rs 14.75 to Rs 204.20 on BSE
3. BOX OFFICE HITS BRING HIGH RETURNS FOR MULTIPLEXES
BY: VIJAY GURAV AND SHUCHI VYAS ON TIMES NEWS
NETWORK [THURSDAY, APRIL 13, 2006 12:00:23 AM
MUMBAI: Multiplexes are not just about providing quality entertainment.
They also offered considerable money-making opportunities to investors on the
Indian bourses thanks to a sharp rally in the stocks of the country’s largest film
exhibition firms
Investors have earned handsome returns on their investments in shares of
listed companies like PVR, Inox Leisure, Shringar Cinemas and Adlabs Films.
Most of these stocks, except Shringar Cinemas, are currently quoting at new
highs. Of these companies, PVR and Inox Leisure were listed only in recent
months.
PVR is currently quoting at Rs 316, a 40% premium to the offer price of
Rs 225 per share. Inox Leisure gained significantly in less than two months of
its listing. At Monday’s closing of Rs 215, the share price has jumped 80%
over the offer price of Rs 120 per share
.
Adlabs Films is currently trading at Rs 405 against the offer price of Rs 120per share, while Shringar Cinemas at Rs 73 against Rs 53. Analysts say the film
exhibition business has a tremendous growth potential with the country’s
cinema-viewing people becoming more conscious about quality of
entertainment.
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A lot of opportunities exist in the entertainment segment, which is also
reflected in the fact that large corporates like the ADAG have entered the field
with big investments. In ’05, ADAG acquired a 50.2% stake in Adlabs Films.
ADAG plans to expand its presence across the entertainment value-chain.
“The film exhibition segment is growing leaps and bounds due to the high
demand for quality family entertainment, as watching movies is one of the
foremost entertainment options in India. With the corporatisation of film
production, better movies targeted at a specific audience are increasing in
number, attracting more movie buffs,” said India Infoline in its report on the
prospects of film exhibition companies
.
Factors like retail boom, changing demographic profile, rising disposable
income and entertainment tax exemptions will drive the future growth of
companies running multiplexes, it said. Though prospects look promising, the
quality of cinemas and their box office collection will play a major role in
performance of multiplexes
.
There are also concerns that the industry may face an overcapacity. “With
operators eyeing the same catchment areas, it could lead to fragmentation of
the viewers and may lead to low occupancy and price wars,” the report stated.
“All the good news has been factored in as of now for the multiplex
industry, but future growth will be seen only if there is a blockbuster film with
an occupancy rate of 5.5 shows a day for a few months. Also, the expansion
plans will be on full steam in FY09 when capacity will triple,” says PhaniSekhar, analyst, Angel Broking.
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MEDIA & ENTERTAINMENT
Block buster
The Rs 1,700-crore that investors have pumped into the sector is
changing the face of media & entertainment in India.
BY: BUSINESS WORLD SEPTEMBER 5, 2006
There is some fear and lots of apprehension in the PVR Cinemas head
office in Gurgaon, on the outskirts of Delhi. It is just a day after Reliance
Lands bought a majority stake in rival Adlabs for a whopping Rs 360 crore in
the biggest media deal in years. A nattily dressed Ajay Bijli looks unconcerned.
But the managing director of PVR has already cancelled a business trip abroad
to confabulate with his team. "I am not going to change focus. We will
continue to do what we are best at doing. We are a specialised exhibition
company that dabbles in distribution," he says.
At Rs 87 crore, PVR Cinemas is about the same size as Adlabs, in termsof screens and revenues. However, unlike Adlabs, which is into film
processing, production and distribution, PVR is focused on multiplexes. Now
suddenly, Bijli's rival has a Rs 250-crore fillip - the rest goes to one of the
promoters - and the backing of Anil Ambani's Reliance Lands. It seems
daunting against the Rs 76 crore Bijli raised from the Russia-based Sun Group
earlier this year. For PVR, the multiplex game is no longer about reaching 100
screens by 2006 because Reliance Adlabs is targeting 1,000.
Now Bijli is rethinking both, the speed of his expansion plans and his
capital needs. In December this year, PVR will hit the stockmarkets for an
initial
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Public offering (IPO) of Rs 150 crore-180 crore. There are also reports that
Reliance Adlabs is in talks to acquire PVR Cinemas. Expect it to look for more
companies to acquire in its bid for scale.
In publishing, the same fear has a different colour. The launch of DNA
and Hindustan Times in Mumbai probably did not shake Bennett, Coleman and
Company (BCCL) as much as the HT Media IPO has. In August this year, HT
Media raised about Rs 400 crore, catapulting it among the top ten media IPOs
in Asia over 2004 and 2005. This follows two rounds of private equity funding
and gives HT Media a valuation of Rs 2,495 crore or over 90 times earnings.
This is very worrying for the Rs 1,808-crore BCCL, India's largest
media company. For decades, its biggest strength has been its cash reserves.
BCCL has used it to batter Hindustan Times in Delhi, or bleed rivals in other
cities. For decades, nobody could match its brute cash power. Now as investors
fall in love with media and entertainment (M&E), the money wall is crumbling.
This is evident in the shift of regional newspapers into the bastions of national
brands and vice versa. It is evident in the mammoth raises BCCL gave its
employees this year, the kind of people it is hiring. It is also evident in the
urgency with which it is stitching up many issues on its agenda - media space-
for-equity deals (called 'private treaties'), joint ventures with foreign partners
like BBC Worldwide and Dow Jones, and deals with investors like West
Bridge-Sequoia in Indiatimes.
And the love affair between media & entertainment companies and
investors has only just begun.
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As investors' interest in the sector moves past its necking phase, it will
irrevocably change the landscape of the business in India. These are just the
first signs of the domestic havoc it could wreak. First, a low-down on the affair.
For years, investors have wanted to lay their hands on M&E companies
in India. But everything from bad regulation to shy owners kept them away. As
the over Rs 25,000-crore, old-fashioned industry expands plugging into the
potential of a young market full of spenders, capital is reaching out to it at just
the right time.
In the first eight months of 2005, M&E companies have raised over Rs
1,700 crore in venture capital, private equity and IPO money. In 30 deals across
the industry - spanning films, publishing, broadcasting and radio - companies
are in hush-hush negotiations with investment bankers or doing road shows for
their IPOs or courting other companies. Every week brings news of at least one
deal, usually in private equity. On an average, BW gets a call a week from
investment bankers looking for some of our past work on a media company or
asking what we make of a company. Two of the top five deals in 2005 -
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Reliance-Adlabs and Nimbus-3i - have been from the M&E sector. (The
remaining have been in telecom, steel and liquor, according to India Advisory
Partners.
The deals and IPOs in Indian M&E are among the largest across Asia.
That makes India one of the most active M&E markets in the region after
China and Korea. The only parallels to the Reliance-Adlabs deal we could find
were in Korean Cable deals or Japanese mergers and acquisitions (M&As). The
only IPOs in Asia comparable with HT Media are Beijing Media (Rs 494
crore) and TV Tokyo (Rs 447 crore), both of which took place in 2004. "No
other market has seen such an explosion of private equity in Asia," says Vivek
Couto, executive director, Media Partners Asia, a Hong-Kong-based mediaconsulting firm.
Indeed, the biggest surprise is the private equity action. As a proportion
of the total private equity action across Asia, M&E has remained one per cent
or so for the last 2-3 years, according to Asian Venture Capital Journal (AVCJ)
data. Last year, the sector in India formed roughly 5 per cent of all private
equity deals. That figure has already doubled this year. "2005 is turning out to
be a blockbuster year for media sector investments," says Arun Natarajan,
editor, TSJ Media. It tracks private equity and M&A deals in India and Indian-
founded companies worldwide.
What makes India attractive is not just size or spending power, but its
chaotic democracy. It means we can read, write, make, watch and listen to
whatever we want. So investors have variety, and the market has a depth unlike
China or Korea. M&E has the potential to become to the Indian economy what
telecom already is - a beacon of its strong economic fundamentals and its rising
spending power.
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The Flashback
Why is there so much scepticism about media and entertainment (M&E)
stocks? If you ignore the stockmarkets for a moment, you'll notice that the
fundamentals of the business have never been in better shape. For one, as V.
Devarajan, chief financial officer, Balaji Telefilms, notes: "The spending
pattern of Indians has changed." KSA Technopak data shows that the share of
M&E in the consumer's shopping basket went up from 9 per cent in 1999 to
14.3 per cent in 2003. So why are investors noticing it now? They had noticed
and responded to it earlier, but to disastrous results. That should explain the
current skepticism.
In 2000, when film companies began corporatising, there was a lot of
interest in M&E. Mukta Arts, Pritish Nandy Communications, Adlabs among
others raised money. But many failed to perform and the scrips started sliding
down. One reason was investors' immaturity, especially in understanding the
companies and segments. The second was that most companies that had listed
were film production houses. Globally, studios or film production companies
do not use IPOs for capital because of the unstable nature of the industry. They
opt for project finance or debt. With these options unavailable in India, many
hit the markets without understanding what it involved - corporate governance,
scaling up and lots of investor expectations.
Things changed in India with the TV Today and the NDTV listing. Both
consistently delivered on operating margins and stock price returns, and forced
the attention back to the sector. Add Balaji and Television Eighteen, earlier
listings, that were doing well.
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"There has been a re-rating, not only because cash flows have increased,
but because more stable players are coming in," says Amol Dhariya of Karvy
Investor Services. Kapil Bagla, executive director, Centrum Capital, links it
also to the rise of mid-cap stocks. Soon, murmurs turned to a clamour and IPOs
like Deccan Chronicle, Cybermedia and UTV were oversubscribed. Finally,
"The Reliance-Adlabs deal put fuel into the fire," says Shravan Shroff, MD,
Shringar Cinemas.
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RESEARCH METHODOLOGY
RESEARCH DESIGN
This research investigation is company-specific and highly qualitative innature. We generated data through a structured questionnaire blended with personal
interactions with all the key personnel of Adlabs and also with the group of 100
customers, selected on the basis of stratified random sampling method. The data so
generated are subject to qualitative treatment, by using the rating sales; and inferences
have been drawn accordingly.
TYPES OF RESEARCH
The type of research method used for this project IS Quantitative
research technique. In this methodology, people have been chosen randomly
and have been asked to respond to the questionnaires.
SAMPLING TECHNIQUE
In this project two types of sampling techniques have been used.
1. Simple random sampling.
2. Stratified Sampling.
Simple random sampling technique has been used for general questionnaire
as it avoids any kind of bias in choosing the sample. Stratified sampling has
been used in case of interaction with dealers as those dealers only were to be
interviewed who dealt with entertainment industry.
SAMPLE SIZE
The sample size chosen for the research is 100 out of which 96 are
general public and the rest 04 are dealers or people associated to entertainment
industry.
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RESEARCH INSTRUMENTS
The research instrument used for this survey is questionnaire. The
reasons why this instrument is chosen are:-
• It is free from all bias.
• It covers a wide area.
• It helps in getting original data.
• Not expensive.
• It is easy to tabulate and understand.
DATA COLLECTION PROCESS:
Primary Research:
The primary data is collected through interviews and questionnaire.
Interviews:-
An interview can be qualitative, quantitative or a combination of both.
In a quantitative interview, the questions are predetermined and presented
together with multiple choice answers. Quantitative means that there must be
measurable results. A quantitative interview is conducted in an investigating
situation, which resembles an every day situation and an ordinary conversation.
The answer to the questions shall be spontaneous and be a result of the
interviewee’s own opinion.
Both, quantitative and qualitative interviews are opposite of each other.
In a quantitative interview the difficulty is in preparing the questionnaire
whereas in qualitative interview a lot of effort is required in analysis.
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The approach used in this research is quantitative interview
methodology. We selected this methodology because it is found easier to get
the responses from the sample within a limited time frame.
SECONDARY RESEARCH
The major source of secondary data is Internet from where collected all
the relevant information available about this product, about the companies
which brought this product in the existing market.
We also collected information regarding the boom in entertainment
industry in India and the growth of this industry in Indian market. Various
other information of interest has also been collected.
RESEARCH LIMITATIONS
• This research investigation is company-specific and is limited to one
geographical area. It is also restricted to a limited to sample size. The
problem of generalization is, therefore, obvious
• Time and resource constraints
• An interpretation of the study is based on the assumption thatrespondents have given correct information.
As the basis to achieve the above objectives, we sought to validate the
following customer satisfaction/dissatisfaction matrices:
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Customer Satisfaction
Customer delivered value
Customer expectations
Customer delivered value
Satisfaction
Dissatisfaction
satisfactionsatisfaction
dissatisfactiondissatisfaction
Motivation tosearch for variety/ better performance
Boredom withthe familiar/new
comparisons
The Dissatisfaction Cycle
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The Dissatisfaction Cycle
attention Z o
n e o f
C o m p
e t i t i v e
v u l n e
r a b i l i t y
time
n e w
m a r k e t i
n g i n i t i
a t i v e
n e w
m a r k e t i n
g i n i t i
a t i v e
S a t i s
f a c t i o
n
r e n e w a ls a t i s f a c t i o n d e c a y
s a t i s f a c t i o n d e c a y
e x
c i t e
m e
n t
attention
dissatisfaction dissatisfaction
S a t i s
f a c t i o
n
r e n e w
a l
boredom boredom
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PROFILE OF THE RESPONDENTS
Age Profile:
Graph 1
Graph showing different age groups of respondents who are
aware of Adlabs Entertainment Industry
Age (in years)
<20
6%
20-30
42%
30-40
34%
40-50
15%
>50
3%
<20 20-30 30-40 40-50 >50
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Occupation Profile
Graph no: 2
Graph showing number of occupational respondents should
aware of Adlabs Entertainment Industry.
Occupation profile
Self Employed,
2
Service
person, 64
Students, 18
Unemployed, 6
Others, 10
Self Employed Service person Students Unemployed Others
Gender profile
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Graph no 3
Graph showing the total number of males and females who are
aware of Adlabs Entertainment Industry
70%
30%
male
female
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DATA ANALYSIS & INFERENCE
Table No: 1
AWAREMESS LEVEL
Table showing the number of respondents who are aware of Adlabs
Yes 73%
No 27%
Source: Field Investigation
INFERENCE:
73% people stated that they are aware of Adlabs and 27% of people
stated that they are not aware of Adlabs; the bar chart shows that out of 100,
73% of the people do aware of adlabs entertainment industry
Graph No: 4
Graph showing the number of respondents who are aware of Adlabs
73
27
0
20
40
60
80
exact percentage
of respondents
no of respondents
yes
no
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Table No.2
SOURCES OF AWARENESS
Table showing the sources through which the respondents came to
know about Adlabs
Friends 20%
Neighbours 18%
Family members 28%
Advertisements 30%
others 04%
Source: Field Investigation
INFERENCE:
The above table shows the majority of the respondents came to know
about Adlabs through advertisements and family members.
Graph No: 5
Graph showing the sources through which the respondents came to
know about Adlabs.
20%
18%
28%
30%
4%
Friends
Neighbours
Family Members
Advertisements
others
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Table No: 3
SATISFACTION/DISSATISFACTION WITH THE ADLAB'S
SERVICES
Table showing the number of respondents who are satisfied with the
services offered by Adlabs
Yes 58%
No 42%
Source: Field Investigation
INFERENCE:
The above table shows 58% of the customers are satisfied with the
services offered by Adlabs and 42% of the customers are not satisfied with
the services of Adlabs,
Graph No: 6
Graph showing number of respondents satisfied/dissatisfied with the
services offered by Adlabs Entertainment Industry
58%
42%
0%
10%
20%
30%
40%
50%
60%
exactperce
ntage of
respondent
s
total no of respondents
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Table no: 4
HAPPINESS OR OTHERISE WITH ADLABS IMAX AND
EXCLUSIVE THEATRE SERVICES
Table showing the number of respondents who are happy or otherwise
with Adlab's IMAX and exclusive theatre services
yes 67%
No 33%
Source: Field Investigation
INFERENCE:
The above table shows 67% of people are happy with Adlabs IMAX
and exclusive theatre services where as 33% people stated that they are not
happy with the Adlabs IMAX,
Graph no: 7
Graph showing the number of respondents who are happy with Adlab's
IMAX and Exclusive Theater Services
67%
33%
0%10%
20%
30%
40%
50%
60%
70%
exact
percentage
of
respondent
s
total no of respondents
Yes
No
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Table No: 5
EFFECTIVENSS OF ADLABS PROMOTIONAL ACTIVITIES
Table showing the number of respondents who stated that Adlabs
promotional activities are effective
Yes 62%
No 38%
Source: Field Investigation
INFERENCE:
The above table shows that 62% of the respondents stated that Adlabs
promotional activities are effective whereas 38% of people stated that
Adlabs promotional activities are ineffective.
Graph No: 8
Graph showing the number of respondents who said that Adlabs
promotional activities are effective.
62%
38%
0%
10%
20%
30%
40%
50%
60%
70%
exact
percentage of
respondents
total no of respondents
yes
No
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Table No: 6
RANKINGS OF EFFECTIVENESS
Table showing rating given by the respondents for promotional
activities of Adlabs in terms of effectiveness
Mark 1 to be the least and 5 to be highly effective.
Rate 1 21%
Rate 2 18%
Rate 3 15%
Rate 4 23%
Rate 5 23%
Source: Field Investigation
INFERENCE:
The above table shows that 23% of respondents rated 5 for promotional
activities of Adlabs in terms of effectiveness whereas 21% and 18%
respondents rated 1 and 2 for promotional activities of Adlabs in terms of
effectiveness.
Graph No: 9
Graph showing the ratings given by the respondents for promotional
activities of Adlabs in terms of effectiveness
23%
15%
18%
21%23% Rated 1
Rated 2
Rated 3
Rated 4
Rated 5
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Table No: 7
EFFECTIVENESS OF ADLAB'S FUN INNOVATION
Table showing the number of respondents who stated that Adlab's fun
innovation is very effective for different age groups
Between 15-25 63%
Between 26-35 21%
Between 36-45 9%
Between 46-55 5%
Above 55 2%
Source: Field Investigation
INFERENCE:
The above table shows that 63% of respondents stated that Adlabs fun
innovation is very effective for the age group between 15 and 25 and
whereas only 5% of people stated that Adlabs fun innovation is effective for
the age group of 46 and 55; we can infer that Adlabs fun innovation is very
much effective for the youth.
Graph No: 10
Graph showing the number of respondents who stated that Adlab's fun
innovation is very effective for different age groups of people
63%21%
9%5%
2%
Between 15-25
Between 26-35
Between 36-45
Between 46-55Above 55
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Table No: 8
MARKET LEADERSHIP IN THE PROCESSING OF HINDI FILMS
Table showing number of respondents who stated that Adlabs is the
market leader in the processing the largest number of Hindi films every
year
Yes 64%
No 36%
Source: Field Investigation
INFERENCE:
The above table shows that 64% of respondents stated that Adlabs is the
market leader in the processing the largest number of Hindi films every year
whereas 36% stated that Adlabs is not the market leader processing the
largest number of Hindi films every year.
Graph No: 11
Graph showing the number of respondents who stated that Adlabs is
the market leader in the processing the largest number of Hindi films
every year
64%
36%
0%10%
20%
30%
40%
50%
60%
70%
exact
percentage of
respondents
total no of respondents
Yes
No
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Table No: 9
EFFECTIVENESS OF ADLABS 3D IMAX FLAT SCREEN
Table showing number of respondents who stated that Adlabs 3D
IMAX flat screen is very effective
Yes 71%
No 29%
Source: Field Investigation
INFERENCE:
The above table shows that 71% of respondents stated that Adlabs 3D
IMAX flat screen is very effective whereas 29% of respondents stated that
Adlabs 3D IMAX flat screen is not effective.
Graph No: 12
Graph showing the number of respondents who stated that Adlabs 3D
IMAX flat screen is very effective
0%
10%
20%
30%
40%
50%
60%
70%
80%
exact
percentage
of
respondent
s
total no.of respondents
Yes
No
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Table No: 10
FREQUENCY OF VISITS TO ADLABS
Table showing number of respondents who indicated the frequency of
their visits to Adlabs (monthly)
Source: Field Investigation
INFERENCE:
The above table shows that 43% of respondents visit Adlabs once in a
month whereas only 12% of respondents visit Adlabs four times in a month.
Graph No: 13
Graph showing number of respondents who indicated their frequency
of visit to Adlabs (monthly)
43%
25%
20%
12%
Once
Twice
Thrice
Four times
Once 43%
Twice 25%
Thrice 20%
Four times 12%
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Table No: 11
YOUTH ORIENTATION OF ADLABS TELEVISION CAREERS
Table showing number of respondents who agreed that Adlabs
television careers are youth -oriented
Yes 58%
No 42%
Source: Field Investigation
INFERENCE:
The above table shows 58% of respondents are of the opinion that
Adlabs television career are youth -oriented whereas only 42% of
respondents stated that it is not youth- oriented
Graph No: 14
Graph showing the number of respondents who opinioned that Adlabs
television career is youth-oriented.
58%
42%
0%
10%
20%
30%
40%
50%
60%
exact
percentage of
respondents
total no.of respondents
Yes
No
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Table No: 12
PROVISION OF ENTERTAINMENT SERVICES AT LOWER
PRICE
Table showing the number of respondents who hold the opinion that
Adlabs provides the entertainment services at lower cost of price
Yes 43%
No 57%
Source: Field Investigation
INFERENCE:
The above table shows 43% of respondents stated that Adlabs is
providing the entertainment services at lower price whereas 57% of
respondents stated that Adlabs is providing the entertainment services at
higher price.
Graph No: 15
Graph showing the number of respondents who stated that Adlabs is
Providing the entertainment services at lower price
43%
57%
0%
10%
20%
30%
40%
50%
60%
exact
percentage of
respondents
total no.of respondents
Yes
No
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Table No: 13
TECHNOLOGY OF ADLABS ENTERTAINMENT HUB
Table showing the number of respondents who stated that the Adlabs
Entertainment hub has the cutting the edge technology
Yes 43%
No 57%
Source: Field Investigation
INFERENCE:
The above table shows that 43% of respondents stated that the Adlabs
entertainment hub has the cutting the edge of technology, whereas 57% of
respondents stated that Adlabs entertainment hub does not possess the
cutting the edge of technology.
Graph no: 16
Graph showing the number of respondents who stated that the Adlabs
Has the cutting edge technology
0%
10%
20%
30%
40%
50%
60%
exact
percentag
e of
responden
ts
total no.of respondents
Yes
No
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MAJOR RESEARCH FINDINGS
The following findings emerge from our data analysis and inference:
1) Most of the respondents are aware of the Adlabs Entertainment Industry
- production, distribution, processing or in cinemas.
2) The respondents have come to know of ADLABS entertainment
services through friends, advertisements, family members
3) Most of the respondents satisfied with the services offered by Adlabs
Entertainment Industry and most of the respondents are satisfied withthe Adlabs IMAX and exclusive theatre services.
4) Most of the respondents stated that Adlabs promotional activities are
very effective and indicated the ratings of Adlabs promotional activities
on the basis of services offered by Adlabs.
5) Most of the respondents stated that Adlabs fun innovation is very much
effective for all types of people including youths to old age people.
6) Most of respondents stated that Adlabs is the market leader in the
processing of the largest number of Hindi films every year and most of
respondents have stated that Adlabs 3D IMAX flat screen is very
effective.
7) Only a few respondents visit Adlabs four times in a month whereas most
of the respondents visit once or twice in a month.
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8) Some respondents agreed that Adlabs is providing the entertainment
services at lower price and some of them also stated that the Adlabs
entertainment hub has the cutting the edge technology.
Conclusions:
Adlabs entertainment industry is a market leader in production,
distribution, processing of cinemas by providing 3D IMAX and exclusive
theatre service to the customers. Adlabs promotional activities is very
effective and the respondents have rated Adlabs promotional activities on the
basis of services offered by Adlabs and fun innovation is very much effective
for all types of people including youths.
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RECOMMENDATIONS
Adlabs should include all age groups for entertainment services and
it needs to link up with other major players like Zee telefilm etc in
the movie industry for better management of their entertainment
services
They should carry out customer research periodically and conduct
operations according to their customers' perceptions and expectations
They should advertise to a greater extent about their services so to
increase the awareness level of its services
Higher budget allocation is needed for the promotional activities.
They should open branches in cities like Mysore, Hassan (these two
cities carry considerable market potential) and need more banners to
make public more aware of the entertainment services
Constant innovation is needed which will provide distinctive
competitive advantage to the ADLABS
We believe that the aforesaid recommendations would make ADLABS more
vibrant in the market and sustain its market leadership.
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ANNEXURE
1. SELECT BIBLIOGRAPHY(a) Books:
• "Services Marketing: People, Technology, Strategy" by Christopher
Lovelock, Jochen Wirtz, and Jayanta Chatterjee ,Pearson Education
Publications 2007
• "Handbook of Services Marketing & Management" by T A Schwartz
and D Iacobucci, Sage Publications, 2000
• "Services Marketing" by Ronald T Rust, Anthony J Zahorik and
Timothy L Keiningham, Addison-Wesley Publications, 2000
• "Services Marketing" by Valarie A Zeithaml and Mary Jo Bitner,
TMH Publications, 2006
• 'Services Marketing" by Helen Woodruff, Macmillan India Ltd.,
Publications, 2000
(b)Entertainment magazines:
1) Indian media
2) Film fare
3) Stardust
4) Femina
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©News papers:
1) Times of India
2) Business standard
3) Economic Times
4) Business World
(d) Journals
• Journal of Services Marketing
• Journal of Marketing
• Journal of Marketing Management (ICFAI)
• Survey (Indian Institute of Social Welfare and Business Management
• South Asian Journal of Management
• A & M (Back Volumes)
• Fortune
• Journal of Advertising
• Services Marketing Quarterly (Best Business Books)
• Business India
(e)Websites:
www.adlabsindia.com
www.google.co.in
www.mamma.com www.altavista.com
www.answers.com
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2. QUESTIONNAIRE
(Please put mark in the appropriate box provided
1. Personal Information
a. Name :
b. Age :
c. Profession :
d. Place :
2. Are you aware of Adlab's entertainment industry?
Yes No
3. If yes, how did you come to know about this entertainment industry?
Friends neighbours
Family members advertisements
Others (Please specify):
4. Are you satisfied with the services offered by Adlabs entertainment?
Yes No
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5. Are you happy with Adlabs IMAX and exclusive theater services?
Yes No
6. Are Adlab's promotional activities effective?
Yes No
7. If yes how much do you rate promotional activities in terms of
effectiveness?
Mark 1 to be the least and 5 to be highly effective.
1 2 3 4 4 5
8. For which age group of people, is Adlab's fun innovation very effective?
Between 15-25 between 26-35
Between 36-45 between 46-55
9. Adlabs is the market leader, processing the largest number of Hindi films
every year with a record-breaking number of prints. Do you agree to this
statement?
Yes No
10. Is Adlabs 3D IMAX flat screen is very effective?
Yes No
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11. How many times will you visit Adlabs entertainment industry (monthly)?
Once twice
Thrice four times
12. Adlabs television, careers, movies contents are only youth- oriented
programs.
Do you agree to this statement?
Yes No
13. Is Adlabs providing the entertainment services at lower cost of price?
Yes No
14. Is Adlabs the entertainment hub for cutting edge technology?
Yes No
15. Please give your recommendations for enhancing the utility of the
Adlabs services------------------------------------------------------------------------
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THANK YOU
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3. DIRECTIONS FOR FURTHER RESEARCH:
• A Diagnostic Study of Customers' Perceptions and Expectations
of Entertainment Industry
• Market Gap Analysis of ADLABS Entertainment Services
• Customer Satisfaction of ADLABS Entertainment Services by
using Multi-attribute Analysis
• Customer Delight: Managerial Insights in Entertainment Industry.
• Market Leadership Strategies-- Creating Growth, Profits and
Customer Loyalty in Entertainment Industry
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