Guest Column: The art of social performance

Music, dance, theatre, films and the likes are taking to social media to expand fan base and deliver unparalleled experience, says Windchimes

e4m by Windchimes Communications
Published: Nov 20, 2012 6:33 PM  | 9 min read
Guest Column: The art of social performance

Just like any other business across industries and sectors, art and performance too need a boost when it comes to reaching out to a wider audience and grow. Having a social media presence was and will probably not always ensure direct sale of tickets or contribute to the income of artists. What it will rather do is build engagement and conversations and in the process help people in remembering and recognising the name and who knows, it might even drive audience in. Let’s look at how social media is pioneering a whole new culture of enhanced audience reach out and increased awareness.

With the explosion of social media came a tech savvy breed of artists, musicians, performers and the likes of other creative individuals and organisations who ushered in the age of dynamism; not just in the ways of personal expression, but also in ways how it is consumed or experienced by audience.

For the Shutterbugs:
For instance, Andy Adams’ Flak Photo, integrated with Twitter and Facebook and Slideluck Potshow’s extensive use of Ning network (enables users to create custom social network) are unique photography-driven initiatives that sets up a community of photographers who appreciate visual art and furthermore fuel art education.  Curators, editors and photography fans throng these portals in search of rich and original visual captures, often lesser heard of in popular circuits. According to Adams, the major benefit of such forums and Facebook is to inspire and encourage international dialogue about the works and artists featured.

Besides these highly customised and type-centric portals, there are blogs, of course, which serve as one of the most affordable and the most feasible platforms to get the word out.

For the lovers of brush and canvas
Individual artists or art organisations or museums are coming up all over the over the world and a lot of them usually treat social media as their second nature.  To serve as an example or two, the Minneapolis’ Walker Art Center offers a platform for art aficionados to connect and join on various discussions, showcases and events with the content put out on the site pertaining to design, education, new initiatives and visual and performing arts. In addition, they publish art history and podcasts are made available through their iTunes U channel. One of their tabs on their Facebook page, At the Center, gives out details of exhibitions and events at their modern and contemporary theatre that is home to performing arts, dance, theatre and music. To keep patrons and enthusiasts hooked in real time, Twitter serves as an ideal medium.

The Brooklyn Museum in Brooklyn, New York, follows a similar approach by employing community tools and integrating various multimedia options to garner and tap on the socially savvy audience. The museum provides and encourages users to explore the museum’s collection online. In addition, an aggregated blog to keep the dialogue live and a regularly updated Facebook and Twitter accounts let people discover the plethora of artists that the museum endorses; all the time ensuring they point to the website or blog for fresh content. For a nominal fee, one can choose to take up the social networked museum membership that allows access to exclusive events and artist-created content.

For most independent artists, a blog usually provides an economical and effective option to exhibit and publicise art works and philosophy.  This builds up the steam and in due course a fan page or profile on Facebook or a profile on Twitter augments the artist’s independent online gallery. After a point in time when an artist/organisation/museum gathers a critical online mass, videos of interviews, concept development, influences, exhibitions, user reviews among others could be posted on YouTube. 

For the purveyors of performing arts
Music, dance, theatre, films and all associated events or festivals globally are increasingly taking to social media to expand their pool of fans and deliver to them an experience unparalleled. To begin with, let’s consider films.

Hollywood launched the Inside Experience sometime last year in collaboration with Toshiba and Intel to create one-of-a-kind social film directed by DJ Caruso and starring the award winning actor, Emmy Rossum. The huge success that it amassed was primarily driven through social media. The concept was such that Emmy’s character was left stranded in a room with just a laptop and an untraceable internet connection.  The promo clip that was shot and released on July 25 last year acted as a prelude and offered the audience a chance to shape the film. Up till July 20, the audience could audition on YouTube for a cameo in the film. The film got aired in short bursts of episodes that later got edited and shown as one whole film.

The concept required the audience who could be Emmy’s friends, family and a world of strangers to offer solutions and help her escape out of the room she was trapped in. They could tweet to her and suggest actions on her Facebook timeline. The best answers were weaved together to form a cohesive plot.  Well received by the online community, this stands out as a novel way for today’s film makers to identify the right mix and utilise social media in their favour.

The buck doesn’t stop here. Today, social media offers a host of opportunities to anyone ranging from a documentary or a short film to big budget film-makers.  Film festivals have suddenly become a rage with the celluloid lovers. How is this made possible? From the much acclaimed Cannes Film Festival, Melbourne International Film Festival, Toronto International Film Festival to our very own International Film Festival of India (IFFI), everyone is using social media to bite a grab a bite of the global audience.

IFFI, for instance, launched dedicated pages on Facebook and Twitter besides aggressively promoting their cause on blogs, consumer forums and news sites. This was followed by closely monitoring and following the partners, prominent celebrities across the globe, directors, producers and other related film festivals. Grabs from films featured, the schedule, major star attractions and exclusive grabs of interviews along with pictures were circulated through select social networks in the run up to the main event.  In a span of a month numbers shot up and garnered a lot of international attention and interest.

The music and the theatre community have soared to great heights in terms of using social media too.  Although many musicians, theatre groups, organisations and festivals or events are using Facebook and Twitter extensively, this segment is focusing more on niche social marketing.  Companies such as Ning provide an excellent platform for any performing group to launch their own social network and have discussions and interactions with a select batch of patrons/fans who could later on become potential ambassadors for the brand. Meetup is one such community that thrives on gathering talent pool with people who share common interests or hangout or collaborate for projects.

Even music festivals and theatre groups’ closer home are not missing out on an opportunity to capitalise on the potential of social media. Take for instance, the recent success of India’s gradually growing into a wide scale and one-of-a-kind music festival, Bacardi NH7 Weekender. Two years into running and bringing together various acts and gigs at a single venue, it has reached out to a growing niche segment of music aficionados and the glory of open air music festivals. Much of its success is owed to the aggressive use of social media. In a span of less than two years, its Facebook page already boasts of acquiring close to 50, 000 fans and during the festivals it regularly features in twitter trends. The recently launched Festivapp, integrated with Google Play and downloadable from iTunes, is a definitive mobile app that gives a list of similar festivals/events happening in the country. The feeds are reflected on the user’s Facebook and Twitter feed, should they choose to publish it. Besides this, there is an interactive map, interactive schedule and photo booth (allows user to take photographs themed around the festival) feature also available for exploits.

Individual music groups are already a hit on the social media with fans. From announcing tour dates to candid behind the camera grabs, making of a video to exclusive bites from band members and fan interaction; Facebook, Twitter, Myspace and YouTube have become crucial platforms for the bands/groups to get inspired and grow. From bands like Coldplay, Metallica, DJ Tiesto to individual artists such as John Mayer, Rihanna and even the ones closer home; Parikrama, Indian Ocean, Pentagram and others, they’re all branching out to social platforms where there audience already is.
When it comes to theatre, there still is still a lot to be done as there are only a handful of scattered theatre groups or organisations that have a social media presence. Consider for instance, the Mikron Theatre Company in the UK spends a lot of time (40 years) touring (mostly on an old canal narrow boat). Mikron has a page on Facebook, an account on Twitter, a dedicated YouTube channel that showcases open rehearsals, trailers of plays, tour kick-off exclusives etc. and a blog that is integrated to the website that gives sneak-peaks to backstage activities.

Closer home, Prithvi theatre, one of the most popular and illustrious theatre organisations from Mumbai is gradually catching up with the social media buzz. The Prithvi Theatre Festival that is held annually brings together some of the best known playwrights, directors, actors and theatre groups. Promotion primarily takes place through their website, Facebook and Twitter accounts. Although, they have a channel on YouTube, it is sparingly used and there’s a huge scope to utilise this platform.

The article is a part of series contributed by Windchimes Communications, an integrated social media agency

In your opinion, what do you think of creative entities using social media to draw in audience and deliver entertainment and learning? Share them in the comments section below.

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Scrolling up or down: Where is India's digital news business headed?

As advertisers tightened their purse strings, media players faced a muted growth on their digital platforms in Q1 FY24. Veterans from the industry share the cause & effect of the situation

e4m by exchange4media Staff
Published: Oct 11, 2023 7:20 PM  | 6 min read
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As the first two quarters for the fiscal year 2023-24 come to a wrap, news publishers are not only experiencing tectonic shifts in their print and broadcast media business, but their digital arm too is facing dynamic consumer shifts.

In an increasingly converged world, besides making sense on ROI matrices, digital offers extended reach at a very low cost, an ability to engage with the viewers in a two-way conversation, co-opt them into the content creation process, empower them by giving them a voice and retain them. The cost and business efficiencies clearly operate at many levels, says Sanjay Trehan, a digital and new media advisor.

According to a study by Reuters Institute, India is a strongly mobile-focused market where 72 percent readers access news through smartphones and just 35 percent via computers. However, despite the glittery user penetration numbers, advertisers, it seems, are not finding it worth investing their money in digital news publisher platforms.

For NDTV, the revenue was down by 35 percent in Q1 of 2023-24 due to lower advertising spends both on broadcasting and digital. Nevertheless, despite low advertisement spends, digital business remained profitable. For Network18 as well, revenue was flattish during the quarter as a weak advertising environment had an impact on the digital segment.

Jagran Prakashan Media’s Q1 FY24 digital revenue stood at Rs 14.43 crores as against Rs 16.78 crores in Q1-23. Mahendra Mohan Gupta, Chairman and Managing Director, Jagran Prakashan Limited, stated in the financial results that “Digital business had nearly the same revenue as in Q1 of the previous year partly because of unfavourable market conditions and partly because of inability to monetise the consumer base to the expected level.”

The Indian Express experienced a slowdown in ad revenue in the last two quarters but subscribers and events business performed well, according CEO Sanjay Sindhwani.

Focussing on sector-wise advertisers, Sindhwani underlined that the IT sector, which spends majorly on digital, has been severely impacted in the economic slowdown. The auto sector has supply chain issues where their order books are full but delivery is an issue. Now, because they are overbooked, advertising is not required for them, he said. Edtech is somewhat tumbling now, which has also resulted in layoffs and cost-cuts. In fact, the whole startup sector has been cost cutting heavily. Gaming was still big but has not seen much growth in the recent past due to regulatory issues and their restrictions on advertising.

For Republic, over the past year or so, there has been a significant shift in direct advertising towards digital publishers along with the always-growing network demand, shared Tapan Sharma, Head of Digital, Republic. The network’s revenue has also grown alongside the continuous growth of revenue in the industry.

Sharma believes the drop in advertisers is happening because advertisers and agencies have now become more aware, vigilant, and methodical with digital ad spending and campaign management. They are looking for better Return on Ad Spend (ROAS) and improving campaign efficiency.

“As a result, publishers who have not prepared themselves well to address the ever-evolving media planning and buying environment may be facing the challenges of monetising via advertising,” added Sharma.

Digital business sustains on two factors - Advertisers and subscribers. On one hand, where the advertisers are declining, publishers are generating quality content to increase their subscriber base who are ready to pay for paywalled content.

Trehan added, “For content behind paywalls to work, it has to be exclusive, differentiated, value-added and premium in nature viz. data and research. The more one has this kind of content, the better will be their subscription traction. Based on this Karmic principle, NYT today has about ten million subscribers, perhaps the most of any publisher in the world.”

The advertising revenue is further split into two - direct and programmatic. Publishers who have been heavily dependent on the latter have faced declining revenues because they have lost the traffic due to certain changes in Google and Facebook’s policies.

Pradeep Gairola, Business Head- Digital, The Hindu, has seen a positive growth in subscription revenue but not a large one. Fifty percent of their revenue comes via subscriptions and paywall content. The direct to programmatic advertising ratio for Hindu currently is at 70:30 split.

But there are obstacles for publishers who are more dependent on subscribers than advertisers too. Major one being, the subscriber revenue is not about acquisition but retention. And, Indian publishers have retention rates much lower than international publishers.

Gairola highlighted, “When we approached the business ages ago, we lacked the wisdom that this is not an acquisition business but a retention business. Retention depends a lot on what kind of audience you have been able to acquire. Secondly, what have you done to ensure that the audience builds a relationship with you and builds a habit around you.”

It is a pertinent industry problem because Indians are accustomed to free content. Unlike other countries, news in India has always been fragmented as an industry and has never charged a penny to its readers. This is also why The New York Times, The Guardian, and other international publishers have higher retention rates.

According to Sharma, the newspaper industry has not really made any significant increment in the subscription fee for the past many years. Whereas a digital news consumer was never asked to pay anything to read or watch news by Indian digital news publishers at large.

“Additionally, the sheer amount of content we are generating, we are not able to communicate or showcase the same to the reader. We haven't been able to establish to the reader how we add value,” shared The Hindu executive.

Further Sindhwani added, as a news publication, if one has to do credible content then it costs money. Customers need to appreciate and value good content in order to be able to pay money for it. The sooner the audience will understand that, the sooner they will be able to differentiate between free content and paid quality content.

Trehan also observed a trend of upward revision of subscription rates for digital when bundled with other value offerings. As more and more products are being bundled along with the main offering, rates are being hiked. Games, puzzles, premium content, exclusive videos are now becoming a part of the 'All Access' subscription.

Sharma believes news subscriptions in India will see significant growth over the next two to four years and publishers will certainly need to focus on offering discrete quality content consistently for paid users.

“The Indian digital news readers are now much more evolved and so is the industry. Within the next few years, the industry will experience habit creation amongst the users of paying for a digital news subscription. This has already started happening in the metros and will further grow in the rest of the markets,” he added. 

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e4m by Aatsi Desai Jasani
Published: Aug 25, 2023 1:47 PM  | 1 min read

Twitter suffers massive outage for 2 hours

The problem reportedly started around 6.30 am on Thursday

e4m by sunny saini
Published: Dec 29, 2022 10:48 AM  | 1 min read
twitter

Thousands of Twitter users were not able to login to their accounts on Thursday morning as the social media site experienced a massive outage for nearly two hours. The problem, which started around 6.30 am, lasted till round 8.30 am. 

Users were unable to log in on Twitter website. However, the microblogging site was working fine on mobile phones.

According to outage tracking website Downdetector.com., User reports indicate Twitter is having problems since 7:13 EST" . Some users also reportedly complained that their Twitter notifications were not working.

In India, Twitter users are getting this message while trying to access the website: “Something went wrong, but don’t fret — it’s not your fault. Let’s try again," with options to refresh or log out.

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How 5G is set to draw more advertisers to emerging tech & gaming

The gaming industry, the fastest-growing space in digital advertising, has the most to gain from introduction of 5G, given that India is a mobile-first country in every segment, say industry players

e4m by exchange4media Staff
Published: Jul 25, 2022 11:22 AM  | 4 min read
5G

The 5G spectrum auctions, set to begin on July 26, will see a total of 72,097.85 MHz of spectrum worth at least Rs 4.3 lakh crore put under the hammer. With Adani Data Networks now also staking its claim, in what was already a heated contest between Bharti Airtel, Reliance Jio, and VI (formerly Vodafone Idea), the amount is expected to exceed Rs 1 trillion, according to various industry experts.

The impact on the telecom industry aside, India’s subsequent adoption of 5G is expected to have huge implications on India’s growing digital economy, as well as its booming advertising and entertainment industry, which is expected to reach Rs 4,30,401 crore by 2026 at 8.8% CAGR, as recently reported by PwC's Global Entertainment & Media Outlook 2022-2026.

Mitesh Kothari, Co-founder and CCO, White Rivers Media, believes that consumers now understand internet technologies better than ever before. People who were cost-driven are becoming experience-driven and are actually willing to pay more for a better experience.

“5G is set to bring an immersive AR/VR, 4K video and mobile gaming experience to entice consumers. Plans clubbed with digital services are more likely to penetrate as people are more willing to pay for an ‘all-included’ experience. And, of course, 4G is going to be around anyway, so the ones who cannot afford 5G will always have an option,” he says.

On the impact of raised prices on the Indians who are about to come online, Ashwarya Garg, Co-founder, HYPD Marketing Technologies, said, “We have grown from 250M internet users to 900M internet users today. While the country today has 4G, there are still areas and localities where only 3G prevails. And in a few places, there is only 2G. It is rotikapdamakaan and the internet today. So, there is no question about a dip in internet adoption,” he says.

Garg further says, “With the release of any new technology, there is a race for faster and quicker adoption. We will surely see a lot of ATL/BTL and influencer-led activities, campaigns specifically designed to educate and adopt on the 5G networks. We should expect a lot of activation via gaming creators, YouTubers, and artists popular on OTT platforms, all of whom would educate them about the end use case.”

Juhi Hajela, VP of Global Marketing at now.gg, points out that despite its massive growth and future potential, with only 47 per cent internet penetration, India is still growing its connected base. “Over the years, we observed that mobile internet connections emerged as a driving force for internet access in India. As a mobile-first country, improved mobile data connectivity will bring a new wave of consumers to utilize the high-speed internet.”

New Ball Game

And the gaming industry, which is the fastest growing space in digital advertising, has the most to gain, given that India is a mobile-first country, across every segment. Experts like Rohit Agarwal, Founder and Director of marketing agency Alpha Zegus, point out that in a country where mobile gaming dominates over 80 per cent of the online gaming and esports segment, there is no doubt that data speeds and data charges hold tremendous value in the growth of this industry.

“The industry has already seen a CAGR of about 37% in the past couple of years, and telecom operators like Jio, VI, Airtel, etc. have accelerated the growth with the introduction of 4G at a highly competitive price point. In the next five years, the CAGR is expected to hit close to 40%, and in my opinion, over 20% of this would be driven by the introduction of 5G, as 5G will allow gamers from remote parts of India to play high-quality games with ease,” says Agarwal.

This would allow tournament organizers to organize more localized events with higher participation and will be able to reach a wider viewing audience. This, in turn, will give brands more sponsorship opportunities, not only to reach out to a bigger audience base but also to experiment with more complex advertising formats which would otherwise be very data dependent.

Gaming creators and streamers will benefit from this improved speed. That would also mean 3G, 4G connectivity will become highly affordable, allowing more consumers to access it.

“India is heading toward becoming the top gaming country in the world. We expect that with 5G auctions, the existing internet service that is already affordable will become faster, allowing Indians to follow their gaming passion. However, limiting device specifications is a real challenge for some players,” says Halja, concluding, “We believe that mobile cloud gaming solution is an excellent fit for the industry, allowing gamers to pursue their passion without being limited by low-end devices.”

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Razorpay row: Cause for concern for other digital payment brands?

Industry experts say while online payment firms have to be sensitive about user data, the controversy is unlikely to have a lasting impact on brand image

e4m by owais khan
Published: Jul 7, 2022 10:48 AM  | 4 min read
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The recent controversy surrounding Razorpay sharing AltNews donor data with the police has once again raised concerns around user privacy in digital domains. The internet has been standing divided for the past few days discussing the legalities and the impact of Razorpay’s move but could it have a lasting impact on the brand image or digital payments at large in the country? Marketing experts disagree.

Speaking to e4m, an industry expert mentioned that the agitation was not certainly only against Razorpay as a brand but about privacy laws or the lack of it. “The brand image might not get impacted in the longer run. Social media controversies die out as soon as they blow up. But yes, they must be making an effort to ensure their existing users and partners that their personal data is safe,” they added.

Rashid Ahmed, Head of Digital, Infectious Advertising had a similar response. “If there's a legally valid request by relevant authorities in India, it would be required of a business or service systems provider to provide requested user information, in accordance with the law. Most large digital enablement service providers have fairly thought through and detailed usage and privacy policies, and a request for data would likely have required a sign-off in consultation with their legal teams. Since the payment gateway provides services to a large number of businesses, it is unlikely that a volume of users who chose not to use the gateway will make any significant impact on the overall base.”

Privacy concerns to grow

However, the concerns around user privacy will only mount with increased user awareness. In fact, it’s not the first time that Razorpay or digital payment gateways have gotten into such a situation. Just a few weeks ago, Razorpay had complained that the company was unable to reconcile receipt of Rs 7.38 crore against 831 transactions as hackers and fraudulent customers stole the amount. And in May 2018, Paytm had come under fire for a similar situation after Cobrapost reported that it had shared personal data of users in Jammu & Kashmir with the Indian government. Albeit, the platform had denied any such claims.

Samsika Marketing Consultants MD Jagdeep Kapoor pointed out, “Privacy is going to be a concern but the platforms, which will keep working ethically and protecting the user data will see no harm in the long run. Brands really have to be sensitive about user data.”

Subscription-based news platforms safe

Asked if the whole controversy could bar people from subscribing to news outlets as data sharing with payment partners would be inevitable, the experts said that the decision would solely rely on the content that such publishers produce, and not on payment gateways.  

Kapoor highlighted, “Any industry these days: be it the payment gateways or publishers, or hotels, are taking a lot of user data. You cannot avoid sharing your data and therefore the onus to safeguard it lies on these companies. If a publisher is not tampering with your personal data or sharing it outside, I don’t think users will not subscribe.” 

However, Khan felt that the subscription-based model might take a hit. “Many transacting users also have their financial details such as cards, tokenized and set up with their preferred gateways. So, this may also propel businesses to opt for multiple payment gateway service providers.” 

Additionally, publishers and any such service providers might look for multiple payment gateways to give users the choice of preference. “Businesses requiring digital payment gateway services will likely opt for multiple service providers, to mitigate against service unavailability, or user preference where gateways is concerned. Many transacting users also have their financial details such as cards, tokenized and set up with their preferred gateways. So, this may also propel businesses to opt for multiple payment gateway service providers,” Khan said.

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1 year of Google News Showcase in India: 130 publications part of the programme

Google News Showcase now supports 8 Indian languages.

e4m by exchange4media Staff
Published: May 26, 2022 3:28 PM  | 2 min read
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Tech giant Google has signed deals with 80 media partners representing more than 130 publications for Google News Showcase, an online news experience programme. Launched last year in India with 30 publisher partners, Google News Showcase has completed one year in the country.

The tech giant's partners include Times Group, The Hindu Group, HT Digital Streams Ltd, Indian Express Group, ABP LIVE, India TV, NDTV, Zee News, Amar Ujala, Deccan Herald, Punjab Kesari, The Telegraph India, IANS, and ANI.

"This time last year, we announced a package of investments to support India’s news ecosystem, including launching Google News Showcase - our new product experience for readers and licensing program for news publishers," Google's Kate Beddoe, Director, News Partnerships, APAC, and Durga Raghunath, Head of India News Partnerships, said in an official blog.

"Since Google News Showcase launched in India last year, we’ve signed deals with more than 80 partners representing more than 130 publications, including national, regional, and local news organizations like Times Group, The Hindu Group, HT Digital Streams Ltd, Indian Express Group, ABP LIVE, India TV, NDTV, Zee News, Amar Ujala, Deccan Herald, Punjab Kesari, The Telegraph India, IANS and ANI. We continue to work towards adding more partners."

Google News Showcase has also expanded to more languages over the past year and now supports a total of 8 languages, including Kannada, Marathi, Tamil, Telugu, Malayalam, and Bengali - along with English and Hindi. "We’ve also continued our work providing training and resources for news businesses and journalists, for example, GNI Startups Lab, GNI Newsroom Leadership Program, and GNI Advertising Lab," the blog reads. Update

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Amazon miniTV to premiere short film 'Sorry Bhaisaab' on December 16.

Directed and written by Suman Adhikary and Sumit Ghildiyal, the film has Gauahar Khan and Sharib Hashmi in lead roles

e4m by sunny saini
Published: Dec 13, 2021 3:43 PM  | 1 min read
amazon mini tv

Amazon miniTV announces a short film – Sorry Bhaisaab, produced by Arré Studio featuring popular actors Gauahar Khan and Sharib Hashmi in lead roles. Directed and written by Suman Adhikary and Sumit Ghildiyal, Sorry Bhaisaab will premiere on 16th December for free, exclusively on Amazon miniTV on Amazon’s shopping app. The film is a relatable humorous take on the desires, motivations and aspirations of the middle class and their eternal quest for things to make their lives better.

“At Amazon miniTV, we always try to bring fresh, engaging and relatable content for viewers. We are delighted to partner with Arré Studio once again to bring yet another heartwarming and entertaining short film. This is a great addition to our library of award-winning short films”, said Harsh Goyal, Head of Amazon Advertising.

“Sorry Bhaisaab showcases the desires and aspirations of a common middle-class family with a relatable plot. This short film is a very special project for us, as at Arré, we endeavour to narrate different and unique stories that touch audiences’ hearts and entertain them thoroughly. We are delighted to collaborate with Amazon miniTV on this since it will give the film a wide reach across see millions of Indians from all parts of the country.” said Niyati Merchant, Co-Founder and COO, Arré................ 

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