ACKNOWLEDGEMENT

This summer training is of an immense academic record and value for the

student of any professional course and for the MBA student who have to

be in the industry with the theoretical knowledge; this practical experience

gives an extra confidence in his performance.

I would like to thanks the USHODAYA Enterprises Limited that gave

me the honour to complete my summer training in the field of Media. I

would like to thanks all the employees & associates of USHODAYA

Enterprises Ltd who really helped me in understanding all the functions

and activities of the organization from time to time.

My heartiest thanks are due to Mr. RAJIB CHATTERJEE, who

encouraged me to cope with the problems that I faced during the course of

this project and to every member of Marketing Department for their help

and cooperation with me during this project.

I am also thankful to the respondent of my questionnaires who gave their

precious time to accomplish my project.

Lastly I would like to thank all those who helped me in any way in my

project.

(Kalim Ullah)

Company Profile

Eenadu – Ramoji Film City Group

The Group

Well diversified with divergent business activities

Known for providing quality products.

Known for solidity, dependability and trust worthiness

Believes in transparency, human values.

A corporate - Fair business practices

Group business interest

Publishing

Entertainment and Film Making

Financial Services

Consumer products

Marketing & Retailing

Hotels & Leisure

Integrated Film Studio mega complex

TV Software development

Publishing

Eenadu

- Telugu Daily Before Eanadu and after Eenadu.Two phases in language news publishing.

Eenadu was born out of an inherent need of Telugu for a newspaper in

their own language- best their nuances, their concerns, their views.

Today the newspaper of the Telugu is Eenadu.

More households in the state of the Andhra Pradesh wake up to Eenadu

than other news daily. the heart and soul of Andhra Pradesh, it enjoys a

circulatio of over 8 lakh copies per day and is published simultaneously

from 15 centres.

News time

- English Daily A popular English daily published from Hyderabad, Newstime is

known for its extensive and impartial coverage of local, national and

international news.

Sitara

- Film Magazine Weekly

Annadata

- Magazine for farmers

Vipula & Chatura

- Family reading Magazines

Eenadu

Largest circulated Telugu daily in AP with a circulation of over 9.0 lacs,

and it is third most read daily in the country with a readership of 92 lacs.

Eenadu is simultaneously published from 12 centres of AP

Eenadu is the first Telugu daily to come in color all days.

Eenadu is contemporary, quick in adapting to new technologies.

Eenadu is known for providing authentic and speedy news.

Eenadu is consumer driven in approach brought out many features

(woman’s page, sports page, cinema page)

Eenadu is Heart & Soul of Andhra.

Entertainment & Film making

ETV-Network

Ushakiron Movies

Mayuri Film Distributors

Mayuri Audio

Ushakiron Television

Ushakiron Movies Ltd

Entertainment

ETV – Eenadu Television

The ETV Networks has a host of successful satellite language channels:

ETV Telugu, ETV Bangla, ETV Urdu ETV Marathi, ETV Kannada.

The channel has a strong news networks across the country. The ETV

Networks also own India’s first private earth station set up in technical

collaboration with world leader, Scientific Atlanta.

First Telugu Satellite Channel with 18 hours programme.

Entertainment packed with target specific programmes.

Serials featuring stars of Telugu film land

Known for strong new gathering network.

Ushakiron Movies

Most professionally managed Filmmaking Company.

Produced over 50 films in Telugu, Kannada and Hindi.

Enjoys good reputation among filmgoers.

Known for producing clean entertainers.

Mayuri Film Distributors

Distributed over 100 films in AP

Known for scientific approach and deft handling of distribution affair.

Believes in total transparency in transactions.

Respected by Exhibitors and Filmmakers.

Ushakiron Television

Well – Established TV Software Company run by experienced

professionals and accomplished creative personnel.

Provides software to all group channels and has produced over 2000 hours

of software.

Has commissioned multi crore, multi lingual mythological serials, which

will be a visual feast because of high production values and mind boggling

special effects and are soon to hit small screen in a big way.

Financial Services

Margadarsi Chit Fund Limited

36-year-old flagship company of the group.

Chit fund is a cooperative investment and borrowing instrument, (a

concept very strong in South India).

Margadarsi is the largest chit Fund Company in AP.

Annual turnover of 1000 crore with 56 branches.

Has a subscriber base of 2,00,000 members.

Margadarsi has institutionalized chit concept in AP.

Margadarsi Chit Fund is known for trust & dependability.

Margadarsi Financial Services

Involved in fee based activity

Engaged in bill discounting, leasing, loan syndication, under writing, and

other financial services.

Consumer Products

Priya – Pickles

Priya is manufactured in fully automated factory at Vijayawada.

Priya is very strong brand with national presence, and is also exported to

US/middle east.

Priya has a strong product range with 23 flavors unmatched by any other

manufacturer.

Priya is known for genuine Indian taste and consistent quality.

Priya masala paste, masala powders and culinary pastes are also available

in select states.

Priya has introduced soft - boiled, hard-boiled, center filled toffees and

candies under the brand name of ‘Yahoo’, ‘refresh’, ‘softer’ and ‘wow’.

Kalanjali

It is exclusive show room spread over 10,000 sq.ft in the heart of

Hyderabad.

Kalanjali houses handicrafts & handmade textiles made available in India

under one roof.

Kalanjali is discerning consumer’s delight.

Merchandise here is picked up from master crafts & weavers.

Kalanjali’s design department has created many exclusive patterns.

Dolphin Group of Hotels

Dolphin – Vizag

The first star hotel in town

Centrally located

Friendly service

Sitara – RFC

Luxury hotel

Complete facility

Asia’s best equipped health club

Club house with best indoor games

Conference facility.

Tara – RFC

Comfort – Economy hotel

24 hours restaurant

Elegant room

Integrated World’s Largest Film Studio

Complex

Ramoji Film City Ramoji Film City is the world’s largest and most comprehensive film

studio complex, spread across a mammoth 2000 acres.

Numerous filmmakers and units including several from Hollywood have

already filmed some class acts here.

The Ramoji Film City has:

Walk-in with script and walk-out with canned film

World largest film studio complex

Scores of locations

Forty studio floors

Lush gardens, avenues and fountains

A fully equipped prop facility with every conceivable kind of prop.

Set design and construction

State-of-the-art equipment and experienced production staff to assist you.

Editing, dubbing and sound recording facilities.

Introduction to the Project

The summer project undertaken by the researcher aims at the following

objectives i.e. to measure or assess the market potential, to obtain market

information from the suspects, to explore & exploit untamed business

opportunities, to find and generate new ideas for product development as

well as renovation an to obtain other related information that could be

crucial to make short term and long-term forecasts so that the firm can take

necessary policy measure which enhance and further consolidates the

market share of the firm and establishes it as a trend setter and market

leader

To obtain the above-mentioned objectives the researcher has extensively

used the tool i.e. marketing research. Basically market research specifies

the information required to address these issues, designs the methods for

collecting information, manages and implements the data collection

process; analyses the results & communicates the findings and their

implication.

The Project Aim & Objectives

Project Title:

Acceptance of E-TV Urdu in Hyderabad and Secundrabad, A.P.

Objectives:

Do they know the E-TV?

Do they get it at home?

Acceptance of this channel?

Favorite Programmes?

Why do they like E-TV?

What do they find in E-T.V. Urdu, which they don’t in other Hindi

channels?

What do they find missing?

Top three Programmes that men/women/kids watch.

Which News bulletins and hourly News (Samachar, Khaas Baat,

Khabarnama, Khabraen.) they like most?

Which Channel do you think can give similar entertainment value?

Types of Research

1. Exploratory

2. Conclusive

Exploratory Research :

Exploratory research is done in the view to find secondary data collected

by means of varied sources.

It encompasses details gathered from knowledgeable person and it also

uses case study up to certain respect.

Conclusive Research :

This is used to find out some concrete relationship between certain known

factors.

It tries to form up complex relationship between cause & effect.

In this study the researcher tried his best to conduct the conclusive study.

Research Methodology & Data Collection

Research Design : Research design is the plan, structure and strategy of

the research scheme on which the researcher is to work. The structure of

research is more specific outline or the scheme and the strategy show how

the research will be carried out specifying the method to be used in the

collection & analysis of data.

The researcher applied here descriptive studies to measure the market

potential and ideas for product/solution development as well as the

renovation and to obtain other related information that could be crucial to

make short term as well as long term forecasts and planning.

Data Collection: In fulfilling the objectives of the project only primary

data were collected through Personal Interviews.

Primary Data: Primary data refers to those, which are collected for the

first time and whose statistical treatment has yet to be done.

As the survey was not exhaustive, so the samples have been choose

randomly assuming the whole universe homogenous.

The primary data can be collected mainly by the following methods.

1. Direct & Personal Investigation: In direct & personal investigation, as

the name suggest, the investigator has to collect the information personally

from the sources concerned. He has to be on the spot for conducting study.

It is necessary that in such cases the investigator has keen sense of

observation and he should be polite and courteous.

2. Indirect Oral Investigation: Persons who are supposed to have

knowledge about the problem under investigation are interrogated and the

desired information is collected. Usually in such enquires a small list of

questions related to the investigation is prepared and these questions are

put to different persons (known as witness) and their answers are recorded.

Invariably it should be seen that the persons being questioned:

a. Know full facts of the problem under investigation

b. Are not predicted

c. Are capable of expressing himself correctly and can give true accent and

d. Are not motivated to give color to the facts

1. Questionnaires: “The questionnaire consists of a list of pre-set formed

questions to be asked”. In this project ‘Disguised-Unstructured’ type of

questionnaire is used to collect the primary data.

The purpose for which Disguised type of questionnaire is used, is to

collect the relevant information regarding the objectives of the project

without disclosing the objective of the study.

Universe: Hyderabad & Secunderabad

Sample Size: 381

About Urdu

History of Urdu

Urdu language and literature, beyond their spatial confines, have been

more heard of than read. With the publication of some notable translations,

some of them in the recent past, a new literary culture seems to be

emerging from the canons of the old. Modern Urdu poetry, of which this is

the first comprehensive selection, has its own tradition of the new.

It has developed through stages of a variegated literary history. This

history has absorbed both the native and non- native elements of writing in

Arabic and Persian, and the Urdu language has survived through several

crises and controversies.

Some of these are related to its growth and development, its use by the

British to divide the Hindus and the Muslims. It estrangement in the land

of its birth following the Partition of India and its interaction with Hindi

once akin but now an alien counterpart. Even with the extinction of those

generations of Sikhs in Punjab, Muslims in Bengal and Hindus elsewhere,

who nurtured the language with love and for whom it was the mark of a

cultivated man, the language has survived and developed. It is now the

cultural legacy of India and the adopted national identity of Pakistan, and

significant new literature has emerged in both countries.

Literary centre : Deccan, Delhi and Lucknow

Literature in Urdu grew at three different centres: Deccan, Delhi and

Lucknow. As it happened, the Deccan emerged as the earliest centre, even

though the language had first developed in northern India, as a result of an

interesting linguistic interaction between the natives and the Muslim

conquerors from Central Asia, who settled there in the twelfth and

thirteenth centuries, The period stretching roughly from the middle of the

fourteenth centuries to the middle of the eighteenth produce a number of

poets.

They are claimed both by Urdu and Hindi literary historians, but Quli

Qutub Shah (1565-1611) is generally acknowledged as the first notable

poet, like Chaucer is English, with a volume of significant poetry in a

language later named Urdu. He was followed by several others, among

whom Wali Deccani (1635-1707) and Siraj Aurangabadi ( 1715-1763)

deserves special mention. Delhi emerged as another significant centre with

Mirza Mohammad Rafi Sauda (1713-80), Khwaja Mir Dard (1721-85),

Mir Taqi Mir (1722-1810), Mirza Asadullah Khan Ghalib (1797-1869) and

Nawab Mirza Khan Dagh (1831-1905). It reached its height of excellence

during the eighteenth and nineteenth centuries. Lucknow made its way as

the third important centre with Ghulam Hamdani Mushafi (1725-1824),

Inshallah Khan Insha (1757-1817), Khwaja Haidar Ali Atish (1778-1846),

Iman Baksh Nasikh (1787-1838), Mir Babr Ali Anis (1802-74) and Mirza

Salamat Ali Dabir (1803-1875). These literary capitals, where the classical

tradition developed, had their individual stylistic and thematic identities,

but broadly it may be said that the ghazal (love lyric) reached its zenith

with Mir and Ghalib, qasida (panegyric) with Sauda, mathnawi (romance)

with Mir Hasan and marthiya (elegy) with Anis and Dabir.

Hali and Iqbal : new poetry in Urdu

In the period that followed, and before the launching of the Progressive

Writers Movement in the 30s, mention should be made of Altaf Husain

Hali (1837-1914) and Mohammad Iqbal (1877-1938). Hali was a poet of

the newer socio-cultural concerns and advocated 'natural poetry' that had

an ameliorative purpose. His Musaddas is an important example of this. He

was also a theorist who opened new frontiers in Urdu criticism with his

Moqaddama-e-Sher-o-Shairi (Preface to Poetry) which equals

Wordsworth's Preface to Lyrical Ballads in importance, and even surpasses

it in certain respects. He realized that with the impact of the West a new

perspective was required.

He, along with Mohammad Husain Azad (1830-1910), laid the foundations

of a new poetry in 1867 under the auspices of Anjuman-e-Punjab, Lahore.

Azad had asserted in the same year that Urdu poets should come out of the

grooves of responses conditioned by Persian culture and root their works in

the ethos of the land. Seeing no response to his pleas, he reiterated the

same point seven years later on May 8, 1874 during his address on the

occasion of the first mushaira of the Anjuman. These appeals failed to

make and impact as sensibilities rooted in particular tradition are not easily

altered even by impassioned pleas.

Hali, creating a new taste for his age. Iqbal, with his remarkable religio-

philosphical vision, and Josh Malihabadi (1838-1982), with his

nationalistic and political fervour, produced exceptionally eloquent kinds

of poetry that continue to reverberate over the years. Iqbal remained the

most influential poet to achieve artistic excellence while putting forward a

philosophical point of view, and his poetry, quite often, acquired the status

of the accepted truth.

A host of others Urdu poets and translators of English poetry who

appeared on the literary scene during the first quarter of this century

experimented with non-traditional poetic forms but they ultimately echoed

sentiments and adopted forms that were more or less tradition-bound. They

also looked towards the West, the traditional source of literary influence,

but that was a world apart and too far to seek,

They could reach only the Romantics who had already become outmoded

in an age identified with Ezra Pound and T. S. Eliot. A characteristically

modern poem in form and value, tone and tenor, remained at best an

intriguing possibility.

Progressive Writers Movement

The 1930s emerged as the archway for entry into a new world and achieve

the unachieved. Some young Indians-- Sajjad Zaheer, Mulk Raj Anand,

and Mohammad Deen Taseer-- who wee then studying in London, musing

on the role of literature in a fast-changing world, came up with a manifesto

for what came to be known as the Progressive Writers Movement. Even

before this, Sajjad Zaheer, during his stay in India had published Angare

(Embers), an anthology of short stories, with explicit sexual references and

an attack on the decadent moral order.

The book had to be banned, like Lady Chatterley's Lover, but the stories

had an impact, as they were thematically interesting and technically

innovative. The reader had suddenly become exposed to the worlds of

Freud, Lawrence, Joyce and Woolf.

There was a world of new values waiting to be explored by an emotionally

charged and intellectually agile reader. The Progressive Writers Movement

was launched at the right time. This was the precise hour to shed the age-

old traditions, take leave to the clichés, proposed new theories, and explore

a new world order.

Akhter Husain Raipuri, in his well-timed Adab aur Inqilab (Literature and

Revolution) published in 1934, discarded the classical Urdu poets,

including Mir and Ghalib, as degenerate representative of a feudalistic

culture. This rejection was, however, based on extra-critical considerations

as he was more intent on popularizing Marxist thought in literature.

Premchand's famous presidential address to the conference of Progressive

Writers Association in Lucknow two years later in 1936, came as a more

precise call to relate literature to social reality. ' We will have to change the

standards of beauty, ' he had said, and beauty of him was that which Eliot

identified as ' boredom and horror' in his own context.

The movement focused on poverty, social backwardness, decadent

morality, political exploitation; it dreamt of an ideal society and a just

political system. Every rebel was, therefore, a progressive writer and vice-

versa during those exhilarating days.

He was basically wedded to the idea of political and social revolution. He

drew his inspiration from Marx. He rejected the striving for individual

signatures, new modes of expression and new experiments in form.

It was important for the poet to denote rather than connote, and to appeal to

the larger humanity rather than to the individual.

Falling victim of these errors before long, the movement alienated some

noted poets, the most important of them being N. M. Rashed (1910-75) and

Miraji (1912-49), who came together to lead a group called Halqa-e-

Arbab-e-Zauq (Circle of Connoisseurs) in 1939. The progressive writers

insistence on ideology and the impatience of those who cared more for art

are reminiscent of the British poets of the 1930s and the later stance of W.

H. Auden.

Faiz Ahmad Faiz (1911-84) is the most prominent and the finest of the

poets who subscribed to the progressive ideology. He was singularly

successful in striking a balance between art an ideas. He was drawn upon

sources other than Urdu and Persian and imparted an individual tone to his

poetry. He did not raise slogans; he only uttered soft notes of

expostulation. He was inspired more by the spirit of liberation than by

slogans raised elsewhere.

Prominent among other progressive poets were Asrarul Haq Majaz (1908-

56), Makhdoom Mohiuddin (1908-69), Ali Sardar jafri (b.1913), Jan Nisar

Akhter (1914-76), Kaifi Azmi (b.1918) and Sahir Ludhianawi (1921-80).

They are mentioned here not only for the individual qualities of their

poetry by also for their importance in this movement at a particular

juncture in literary history. Despite the deep political complexion of the

Progressive Writers Movement, it prominence was a short-lived affair. The

next generation of poets expressed certain misgivings about their emphasis

on class struggle in a materialistic and scientific world. The new poet

wished to shake off all external shackles and apprehend his own

experience for himself.

The modernism N. M. Rashed and Miraji are the two most remarkable poets in

this group.They along with Faiz, represent in the Urdu language what Eliot

and the Symbolists do in English and French. They appeared later but also

showed a unique resilience and vitality. Faiz was a poet with a message,

one woven artistically into a pattern of symbols and delivered in

mellifluous tones. Rashed treated the Urdu language in a fresh way and

created complex symbiotic fusion.

Faiz appeals alike to the philanthropist and the philanderer, the pious and

profane, the music makers and dreamers of dreams, but Rashed appeals

only to a select readership.

Faiz emerged as a myth in his own lifetime while Rashed and Miraji are

yet to be fully appreciated. Rashed's resources are immense. The merging

to the eastern and western influences accounts for the richness of his verse

enhanced by linguistic innovation and poetic skill. Miraji, who reminds

one of Tristan Corbiere in his bohemianism, drew upon Oriental, American

and French sources, meditated upon time, death, the mystery if human

desires, the raptures of sex and wrote in a variety of verse forms -- regular,

free, and prose-like. He opted for esoteric symbolism, resorted to the

stream-of-consciousness method and emerged as a unique modernist

movement in Urdu poetry.

It was on this tradition that individual poets later developed their own

version of modernism. Majeed Amjad (1914-74), Akhtarul Iman (b.1915)

and Mukhtar Siddiqi (1917-72) deserves special mention here. A poem for

them was a delicate work of art that succeeded or failed for its artistic

worth. Akhtarul Iman wrote ironic, nostalgic and dramatic poems, while

Majeed Amjad wrote in an inimitable introspective mood and ideas. They

served as models for the younger poets to follow. The impact of Rashed,

Miraji and Faiz was immense and far-reaching. Their successors echoed

them, learnt from them and so came to acquire their own voices in course

of time.

The generations of poets since the 1950s faced new predicaments. The

Partition of India was an experience they had suffered, while the world

around was also terribly alive and eventful. Groups of poets followed on

after another; Wazir Agha (b.1922), Muneer Niyazi (b.1927), Ameeq

Hanfi (1922-88), Balraj Komal (b.1928), Qazi Saleem (b.1930) grappled

with the world around in an idiom and form that were decidedly new and

had nothing to do with Progressive aesthetics. All of them acquired their

own individual identities and made their mark in the development of

modern poetry. They looked back at their won masters-- Mir and Ghalib--

and fared forward to Eliot and Empson.

Modern literary and philosophical movements no longer remained alien.

Realism, symbolism, existentialism, and surrealism, were drawn closer

home. Kumar Pashi (1935-92), Zubair Rizvi (b.1935), Shahrayar (b.1936),

Nida Fazli (b.1938) and Adil Mansoori (b.1941), on the one hand, and

Gilani Kamran (b.1926), Abbas Ather (b.1934), Zahid Dar (b.1936), Saqi

Farooqi (b.1936), Iftekhar Jalib (b.1936), Ahmed Hamesh (b.1937),

Kishwar Naheed (b.1940) and Fehmida Reyaz (b.1946), on the other,

experimented in form and technique, bringing in new diction and finding a

place for new experiences. The new poem had come into being;

modernism had firmly established itself by the mid-1970s.

Shaabkhoon, a literary journal, projected this movement in a big way and

identified the poets of the new order. Ever since its inception in 1966, it

has done a singular job -- especially during the vital 60s and 70s -- of

creating a taste for modernism. Shamsur Rehman Farooqi, the most

perceptive of the modern Urdu critics, played a vital role in helping

recognize the contours of modernism with his critical studies. his studies

appraising modern poets, as well as classical poets who bear upon the

modern tradition, developed sound critical theories and helped in creating

an atmosphere for the acceptance and appreciation of modernism.

Tabulation and Quantitative Analysis

In the study of my project related to the Acceptance of ETV Urdu in

Hyderabad & Secunderabad, the method applied by the researcher to get

the responses was ‘Random Sampling Method’.

1. Do you like to watch T.V. Programmes?

TV Viewers No.of Respondent Percentage

Yes 367 96.3

No 13 3.4

2. Which type of TV set do you have in your home?

Type of TV set No.of Respondent Percentage

Color 333 87

B/W 43 13

3. What’s the channel you watch most?

Top Channels No.of Respondent Percentage

Star TV 187 49

Zee TV 49 13

Sony TV 115 30

Others 68 18

4. What is the significance of Urdu to you?

Significance of Urdu No.of Respondent Percentage

Language 43 11

Culture 92 24

Identity 111 29

All 127 33

None 15 4

5. Have you seen ETV Urdu?

ETV Viewers No.of Respondent Percentage

Yes 341 89

No 38 9

6. Do you get this channel at your home?

Channel Connectivity No.of Respondent Percentage

Yes 337 88

No 40 10

7. On Which band, cable operator provide you this channel?

Prime Band

Connectivity on Band

No. of Respondent Percentage

Prime Band 63 17

S-Band 152 40

Don’t Know 145 38

8. Do you watch regularly ETV Urdu?

Regular ETV Viewers No.of Respondent Percentage

Yes 233 61

No 142 37

9. Do you like the ETV Urdu Programmes?

Do they like it No.of Respondent Percentage

Yes 333 87

No 41 11

10. Which is your favorite genre?

Favorite Genre No.of Respondent Percentage

Family soap 93 24

Comedy 161 42

Thrill / Action 50 13

Suspense 69 18

Cartoon 36 9

None of these 16 4

11. Why do you like this Programme?

Why they like No.of Respondent Percentage

Presentation. 117 31

Actors/ anchors. 46 12

Timings. 30 8

Story 77 20

All 43 11

None 15 4

12. When do you watch this channel?

Time when they Watch No. of Respondent Percentage

Morning 68 18

After Noon 41 11

Evening 175 46

Night 130 34

13. Who watch ETV Urdu Programmes in your family other than you?

Other Family

Members

No. of Respondent Percentage

Father 40 10

Mother 45 12

Sisters/Brothers 47 12

Other 22 6

All family members 206 54

None 31 8

14. What do you find in ETV Urdu, which you don’t find in other Hindi

channels?

Reason to watch

ETV Urdu

No. of

Respondent

Percentage

Culture & Tradition 120 31

Language 90 24

Entertainment 55 14

Knowledge 56 15

All 60 16

None. 21 6

15. Suppose the story of your most favorite serial on other channel e.g. Star, Sony. Zee

TV etc. are also to be the story of a serial with Urdu speaking characters and

telecast simultaneously on ETV Urdu. Which one could you prefer to watch?

Channel Prefer No. of Respondent Percentage

ETV Urdu 270 71

Other Channel 97 25

16. What do you find missing in this channel?

They miss in ETV

Urdu

No. of Respondent Percentage

Quality 58 15

Presentation 41 11

Popularity 152 40

Others 26 68

All 32 8

None 63 16

17. Do you watch the News bulletins?

News Bulletins

Viewers

No. of Respondent Percentage

Yes 292 77

No 86 22

18. Which News bulletins do you like the most?

Favorite Bulletin No. of Respondent Percentage

Khabar Naama 120 31

Khabraen 81 21

Khaas baat 113 30

19. Which Other T.V. channel, do you think can give similar entertainment value?

Channel Which

Provide

No. of Respondent Percentage

Star Plus 192 50

Zee T.V. 38 10

Sony T.V. 91 24

Sahara T.V. 63 16

Others 37 10

Interpretation

1. Do you like to watch T.V. Programmes?

Yes

97%

No

3%

Yes

No

Interpretation: 95% of Target Audiances like to watch TV Programmes.

2. Which type of TV set do you have in your home?

Color

89%

B/W

11%

Color

B/W

Interpretation: 89% audiences have color TV sets.

3. What’s the channel you watch most?

Star TV

45%

Zee TV

12%

Sony TV

27%

Others

16%

Star TV

Zee TV

Sony TV

Others

Interpretation: Star TV & Sony TV has highest viewerships.

4. What is the significance of Urdu to you?

Language

11%

Culture

24%

Identity

29%

All

32%

None

4%Language

Culture

Identity

All

None

Interpretation: Mostly all the target group consider Urdu as their

Language,Culture & Identity.

5. Have you seen ETV Urdu?

Yes

90%

No

10%

Yes

No

Interpretation: People are watching ETV Urdu.

6. Do you get this channel at your home?

Yes

89%

No

11%

Yes

No

Interpretation: This channel is reaching to the target audiences.

7. On Which band, cable operator provide you this channel?

Prime Band

18%

S Band

42%

Don't Know

40%Prime Band

S Band

Don't Know

Interpretation: They get this channel on S-Band.

8. Do you watch regularly ETV Urdu?

Yes

62%

No

38%

Yes

No

Interpretation:This channel has regular viewers.

9. Do you like the ETV Urdu Programmes?

Yes

89%

No

11%

Yes

No

Interpretation: Audiences like the ETV Programmes.

10. Which is your favorite genre?

Family

Soap

22%

Comedy

38%

Thrill/Action

12%

Suspense

16%

Cartoon

8%

None

4%

Family Soap

Comedy

Thrill/Action

Suspense

Cartoon

None

Interpretation: Comedy and Family soaps are favorite genres.

11. Which Programme you like the most in ETV Urdu.

percentage Of Audiance Favorite

Programs

31%

18%17%

9%

8%

6%5% 3%

3%

0%

Aap Ki Pasand

Savera

Time Pass Giri

Bazm-e-Khawateen

Auto Stand

Hamari Zinath

Betiyan/Zohra Mahel/24 Pali Hill

Ulti Ginti

Quran Khwani

Hakimpur.com

12. Why do You like this Programme?

Presentation

36%

Anchor/Actor

14%

Timings

9%

Story

23%

All

13%

None

5%Presentation

Anchor/Actor

Timings

Story

All

None

Interpretation: ETV Pogrammes are accepted due to presentation, Story

& Actors/Anchors (e.g. Mr. Jani and Ms Sharaddha Aggrwal for Time

Pass Giri and Aap ki Pasand resp.)

13. When do you watch this channel?

Morning

16%

Afternoon

10%

Evening

43%

Night

31% Morning

Afternoon

Evening

Night

Interpretation: Large section of audiences watch this channel at evening

hours.

14. Who watch ETV Urdu Programmes in your family other than you?

Father

10%

Mother

12%

Sister/Broth

er

12%

Other

6%

All Family

members

52%

None

8%

Father

Mother

Sister/Brother

Other

All Familymembers

None

Interpretation: Mostly all family members like to watch this channel.

15. What do you find in ETV Urdu, which you don’t find in other Hindi

channels?

Culture

30%

Language

22%Entertainment

14%

Knowledge

14%

All

15%

None

5%Culture

Language

Entertainment

Knowledge

All

None

Interpretation: Audiences watch this channel to their culture & Language.

16. Suppose the story of your most favorite serial on other channel e.g. Star,Sony.Zee

TV etc. are also to be the story of a serial with Urdu speaking characters and

telecast simultaneously on ETV Urdu. Which one could you prefer to watch?

ETV

74%

Other

Channel

26%

ETV

Other Channel

Interpretation: Language is the importance factor for acceptance of this

channel.

17. What do you find missing in this channel?

Quality

16%Presentation

11%

Popularity

40%

Others

7%

All

9%

None

17% Quality

Presentation

Popularity

Others

All

None

Interpretation: Audiences miss the popularity from this channel.

18. Do you watch the News bulletins?

Yes

77%

No

23%

Yes

No

Interpretation: News bulletins are accepted.

19. Which News bulletins do you like the most?

Khabar

Nama

38%

Khabrein

26%

Khas Baat

36% Khabar Nama

Khabrein

Khas Baat

Interpretation: Khabar Nama & Khas Baat are the most favorite

bulletins.

20. Which Other T.V. channel, do you think can give similar entertainment value?

Star plusTV

45%

Zee TV

9%

Sony TV

22%

Sahara

15%

Others

9%Star plusTV

Zee TV

Sony TV

Sahara

Others

Interpretation: Star Plus Providing the same entetainment value.

Some suggestions and recommendations to make the ETV Urdu more

Popular

ETV Urdu is the first Urdu TV channel in India. Whereas there are too

many newspapers & magazines published in Urdu language. But in

Electronic media, it is first.

In India,Urdu is so popular that mostly all Hindi speaking people used the

Urdu words in their communications.

- All other TV channels e.g. Star Plus,Zee TV, Sony TV, etc are the Hindi

Channels, But they are not fully Hindi channels. There are too many Urdu

serials and Programmes in that channels.

So, this channel has to think about how to capture the market shares by

popular channels.

Some useful suggestions that I have observed in my research.

Some Islamic Culture based Programmes in ETV Urdu, e.g. History.

Programmes on Sufi Saints.

Marriage based Programmes.

Improvement in Production Value.

Connectivity should be proper.

Some Urdu movies also may be telecast.

There may be news in Arabic also.

In Holi month of Ramdhan,if possible, there should be live telecast of

Taravih from Mecca Moazzamma, Saudia Arabia.

Avoidance of non-Urdu words in Programmes.

Some selected Qawwals should be entertained.

Career Programmes also to be telecast.

A Project Report

Titled

Acceptance of ETV Urdu in Hyderabad &

Secunderabad.

Done at

Ushakiron Television, Ramoji Film City

Submitted in Partial fulfillment of the

Requirement for the award of

MASTER DEGREE in Business Administration

(2001-2003)

Under the guidance Submitted by

Dr. H.S. Singh Kalim Ullah

Department of Business Management & Entrepreneurship

Dr. Ram Manohar Lohia Avadh University,

Faizabad,U.P.

Contents

Acknowledgement.

Company Profile.

About Urdu

Introduction (Project)

Aim & Objectives

Questionnaire

Types of Research

Research Methodology

Tabulation & Quantitative Analysis

Interpretation

Suggestion & Recommendations