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I&B Ministry

For I&B ministry, lots of legislative action pending

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Tomorrow India‘s BJP-led 18-odd party coalition NDA government completes three years in office.So does the information and broadcasting ministry, in a way the nodal organisation for policy-making relating to broadcasting, uplinking, and the entertainment sector. On the occasion of three year‘s of existence – at times tumultuous – of the government, indiantelevision.com has a look at what the government and the I&B ministry have done, reviews the status of the policy decisions announced and effected and also looks ahead to what can be done in the remaining period of a five-year tenure.

For the last several months, India‘s information and broadcasting (I&B) minister Sushma Swaraj has not held her weekly Friday durbar for beat journalists which earlier used to be a regular fixture when over light, but tasty, snacks and tea the minister and the Press used to exchange information on the industry in her fifth floor office at Shastri Bhawan in the heart of the Capital. The occasion also presented journos with ample opportunities to get ‘exclusives‘ confirmed (or denied) and the minister with an audience which later disseminated the thought process of the government on various policies relating to the industry.

Her office staff and the Press Information Bureau, the government‘s PR outfit, insist that after having set a scorching pace during the early days in office, Swaraj is now taking a breather where policy decisions are concerned. It is also true that Swaraj, during her present stint at the I&B ministry and also during an earlier stint had been involved with some landmark policy decisions – their outcome notwithstanding – which showed a green signal for starting a KU-band direct-to-home TV service in India.

The next session of parliament in mid-Nopvember is likely to see some action on the introduction conditional access system (CAS). For this and other issues that affect the media and entertainment industry, read on…

POLICY ANNOUNCED
YEAR
STATUS
FM Radio
1999
Some private players have started operations in select cities. But feel Policy & high licence fee may bleed them.
DTH
2000
Non-starter till now. Only two companies have filed for licence in 2002.
Industry status to films industry
2001
A slow starter as only few films have been financed by FIs or banks which are still wary of risks in funding films.

Communications
Convergence

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2001
Introduced in Parliament. But awaiting a Parliamentary panel‘s suggestions which has not yet submitted report to government
CAS
2002
Amendments to the relevant Act passed in Lower House, awaiting Upper House‘s nod amidst criticisms of reducing viewers‘ choice and govt. trying to have indirect censorship
FDI in print
2002
Broad policy announced allowing limited FDI in news category. But players awaiting final guidelines
FDI in films & advertising
2002
100% FDI allowed through automatic route. Response has been okay.

FM Radio ***
On 9 November, 1999, a day ahead of the deadline, Subhash Chandra‘s Zee group through an associate company submitted tender documents for its bids for all the 40 cities which were be opened up to private parties for FM radio broadcasting. Zee was not alone in doing so, many other high-profile corporates like the Reliance group, NDTV, RPG, Mid-Day and a PK Mittal company had also picked up tender documents for starting FM stations. 450-odd tender documents had been picked up by various corporates, big and small, including absolutely local entrepreneurs based in cities like Jallandhar and Jamnager.

When all the bids were opened finally by 2000, in all, 67 companies through 360 tenders had bid for 108 FM stations that were up for grabs in 40 cities. Since it was a new sector many companies had thought there money was to be made. So, in a trend, reflective of telecom biddings, the bidders played for high stakes. For example, 11 FM radio stations for Delhi went for a whopping Rs 71.25 million each. The successful bidders in Delhi (reserved price Rs 12.5 million) included New Media Broadcasting (a Zee associate company that has since closed shop), Bennett, Coleman and Company, Living Media, Dream Radio, Hind Broadcasting, Hindustan Broadcasting, Music Broadcasting, Millinneum Delhi Broadcasting and Observer Network. The lone channel in Chandigarh had gone for about Rs 66.5 million to New Media.

Cut to 2002. Only about a dozen FM radio stations are operational and increasingly the players are realising it‘s a tough nut to crack with revenues just trickling in. The bidding fee, coupled with other financial guarantees, has made this business less viable.

So much so now companies are surrendering their licences. Music Broadcast Pvt. Ltd-Star combine has done so for two centres out of their six. Ditto for Millinneum Broadcasting and Radio Mid-Day for Delhi. Some have dropped out altogether, including the Ambani-backed Observor Network and the Zee associate company.

While the private companies blame the government for framing a policy which was not business-friendly (in FM radio operations portfolio investment by FIIs up to 30 per cent, as per finance ministry guidelines, is allowed but no foreign equity), the government says that every detail was on paper with the tender documents and for the high bids the bidders were themselves to be blamed.

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The case as it stands now, it seems Delhi and some other centres may see some radio stations by next year, while the industry feels more companies are likely to surrender their licences as the experience of those operating in the space are not very encouraging.

DTH ***
It was ironical that while on November 2, 2000, the government announced the broad policy relating to KU-band DTH service in India, a day earlier Star India‘s then executive director-DTH, Urmilla Gupta, had put in her papers after waiting for DTH to happen since 1997.

The announcement was greeted with cautious optimism then which is still the case. From the time of announcement of the policy till date only two applications – from a Star India front company and Subhash Chandra‘s satellite company ASC Enterprises – have been received by the I&B ministry. These two were also moved early this year.

Asked about the delay in starting a DTH service, a senior Star executive had told indiantelevison sometime back that a costly operation like DTH (a typical DTH operation would need investment between $ 400-500 million) cannot be started unless the government reviews its policy guidelines and goes in for some relaxation.

The Planning Commission and some others too, had suggested that the government should relax DTH guidelines which seem too stringent.

When the same question was put to the I&B ministry a senior bureaucrat retorted: “Policy guidelines cannot be changed for just one or two players. If more come forward and there is a genuine need, policies can be reviewed.”

The existing DTH guidelines in a nutshell state the following:

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*Total foreign investment, including FDI/NRI/OCB/FII, not to exceed 49%. Control of DTH company with resident Indian. Broadcasting and/or cable company holding limited to 20%.
Criticism: This ceiling should be hiked.

*An entry fee of Rs 10 crore, plus annual revenue sharing with government on 10% basis.
Criticism: The revenue sharing should be waived or deferred till the fifth year of operation.

*A bank guarantee of Rs 400 million for a 10-year licence period.

*Mandatory uplinking from India.
Criticism: Long-term agreements have been done abroad and cannot be cancelled soon.

* A year‘s time to set up earth station in India.

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*Licencee to ensure a single SMS and open architecture set top box.
Criticism: There is nothing called open architecture as every technology and channel encryption is proprietary.

Thereby hangs another tale of a policy failing to kickstart the area concerned for investments. Last heard a Bureau of Indian Standards (BIS) committee is looking into the issue of open architecture and whether set-top boxes can be really ‘open‘.

Conditional Access Systems (CAS) ***
The movement to implement conditional access system in India to bring addressability in Indian cable homes gained momentum early 2002.

Hectic lobbying by broadcasters, cable industry and sundry players notwithstanding, Swaraj stood her ground in a bid to come to the Indian consumers‘ help who, allegedly, are having to pay steep monthly cable subscription fee for viewing cricket matches, saas-bahu fare, etc.

The move to get the amendments to the Cable TV (Network) regulation Act 1995, which would facilitate implementation of CAS, got passed in the Lok Sabha late one evening some months back through a voice vote.

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But in the Upper House of Parliament, where the government does not have a majority, the members of Parliament wanted a debate during the last session of Parliament.

Amidst a drama of the I&B ministry withdrawing the Bill and Swaraj holding hectic negotiations with Opposition MPs to convince them of the benefit of CAS and with cable operators who threatened to cut off cable service to dissenting MPs, the issue could not be discussed in Rajya Sabha.

It‘s to be seen what happens of CAS during the next session of Parliament starting mid-November.

The biggest criticism of CAS is that the government was trying to control what viewers should see or not see by giving itself the right to determine which all free-to-air channels (specially news channels) should be part of the basic tier of service which would come at a nominal price.

It is another thing that till date the basic tier price also has not been decided and various permutations and combinations are still being worked out.

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Communication Convergence Bill ***
In all fairness the blame for delay on this piece of legislation for the convergence era cannot be put at I&B ministry‘s doorstep. Because the Bill was introduced in parliament in 2001 by the then telecommunication minister Ram Vilas Paswan and after initial confabulation Swaraj really doesn‘t have much say in this.

The Bill is with Parliament‘s Standing Committee on IT and Telecommunication and the government is awaiting its reports and suggestions which may or may not get incorporated into the Bill for re-tabling before policy makers before being enacted into a law.

Meanwhile, the print medium which fought for decades for FDI to be allowed into the sector scored a major victory as an oscillating government finally some months backs allowed limited FDI in print medium in the news category – FDI up to 26 per cent in news category and 74 per cent in non-news category.

But these apart, Swaraj has seen to it that the film industry gets industry status paving the way for organised funding of films. This is still to pick up. She has also worked hard to get Indian films noticed in international film festivals and the market for Indian films widens through organised participation at international level.

What the government can do is to speed up the process of enactment of the Communication Convergence Bill, review the existing DTH policy without taking into account the players involved and also see that future policies for the sector is well thought of and investor friendly before being finalised.

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Swaraj may just take hope from Nehru‘s famous words that there are miles to go before she takes a breather.

I&B Ministry

MIB sets OTT accessibility rules, mandates captions and audio description

Platforms get three years to add features for hearing and visually impaired

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NEW DELHI: The government has asked OTT platforms to make their shows easier to watch and hear. A new set of accessibility guidelines from the Ministry of Information and Broadcasting requires streaming services to add features for viewers with hearing and visual impairments.

The move follows the Rights of Persons with Disabilities Act, 2016, and is meant to bring streaming closer to the promise of equal access. In simple terms, if a film or series is coming to an OTT platform, it should not arrive empty-handed. It should come with captions for those who cannot hear well and audio descriptions for those who cannot see clearly.

The guidelines ask platforms to provide at least one accessibility feature each for hearing-impaired and visually-impaired viewers. That could be closed captions, open captions, Indian Sign Language interpretation, or audio description. The aim is to make content understandable without turning the viewing experience into a technical chore.

There is, however, a long runway. Platforms have up to thirty six months from the date of the guidelines to ensure that all newly released content carries these accessibility features. Older titles in their libraries are not under strict timelines, but companies are encouraged to add features gradually.

The rules also go beyond the show itself. User interfaces, whether on mobile apps, smart TVs or websites, must be designed to work with assistive technologies. Accessibility labels such as CC for captions, AD for audio description and ISL for sign language must be displayed clearly so viewers know what to expect before pressing play.

Some content types get a free pass. Live events, music, podcasts, and short form content like ads are exempt because of practical challenges in real time captioning and description.

OTT publishers will also need to file accessibility conformance reports. The first report is due three years from now, followed by quarterly updates. Complaints from viewers will follow a three tier system, starting with the platform itself, moving to self-regulatory bodies, and finally reaching a government monitoring committee if needed.

For the streaming industry, the message is clear. Accessibility is no longer a nice extra tucked away in settings. It is fast becoming part of the main feature, and in a country where streaming audiences run into the hundreds of millions, that could make a very big difference to who gets to enjoy the show.

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I&B Ministry

I&B’s 2025 report card: Lights, camera, action — and Rs 4,334 crore

The I&B ministry rode the creative wave, turning content into commerce and startups into stars

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NEW DELHI: If 2025 was India’s year to make waves, the ministry of information and broadcasting (I&B) was its chief surfboard maker. Prime minister Narendra Modi’s call to “create in India, create for the world” wasn’t just ministerial hot air—it triggered a tsunami of creative dealmaking that swept from Melbourne to Madrid, generating Rs 4,334 crores in potential business discussions and putting Indian creators on every continent’s radar.

The centrepiece was Waves 2025, the World Audio Visual and Entertainment Summit, which drew over 90 countries, 10,000 delegates, and roughly 1 lakh punters through its doors. Modi himself dropped by to glad-hand young creators, describing the event as a “wave of culture, creativity and universal connectivity”—and for once, the hyperbole wasn’t entirely unwarranted.

The summit’s CreatoSphere platform, which sounds like something from a sci-fi novel but is actually a hub for film, VFX, animation, gaming, and digital media, launched the Create in India Challenges. Season one attracted over 1 lakh entries from more than 60 countries across 33 categories. Winners weren’t just handed certificates and sent packing—they performed at Melbourne, exhibited at Tokyo Game Show, and pitched at Toronto International Film Festival. I&B minister Ashwini Vaishnav handed out gongs to 150 creators, cementing the government’s commitment to nurturing what it calls the “creative economy.”

WaveX, the startup arm, proved equally industrious. It coaxed over 200 startups into its embrace, enabled 30 to pitch to Microsoft, Amazon, and Lumikai, and somehow got two of its charges—VYGR News and VIVA Technologies—onto Shark Tank India, where they presumably dodged the usual mauling. The initiative’s KalaaSetu and BhashaSetu challenges, focused on AI-driven video generation and real-time translation respectively, attracted over 100 startups and picked ten for collaboration with government media units.

Waves Bazaar, the “craft-to-commerce” global e-marketplace, went on a roadshow between August and December, hitting 12 international events across four continents and four domestic jamborees. The numbers are eye-watering: over 9,000 B2B meetings, 10 memoranda of understanding signed, three more proposed, and the launch of creative corridors with Japan, Korea, and Australia. The ministry claims Rs 4,334 crores in potential deals—potential being the operative word, though in India’s booming content market, optimism often precedes reality by only a few quarters.

On the bricks-and-mortar front, the Indian Institute of Creative Technology opened its temporary Mumbai campus in July with Rs 391.15 crores in budgetary support. The public-private partnership with Ficci and CII has enrolled over 100 students across 18 courses, incubated eight startups, and signed memoranda with Google, Meta, Nvidia, Microsoft, Apple, Adobe, and WPP—a who’s who of tech giants keen to tap India’s creative reserves. A permanent 10 acre campus at Film City, Goregaon, complete with an immersive AR/VR/XR studio, is in the works.

Elsewhere, the ministry set up a Live Events Development Cell to position India’s concert economy as a growth driver. A single-window clearance system is being built on the India Cine Hub platform to expedite permissions for fire, traffic, and municipal approvals—addressing the red-tape nightmares that have long plagued event organisers. Meanwhile, an inter-ministerial committee is tackling digital piracy, that perennial thorn in the creative economy’s side.

State broadcaster Doordarshan snagged the Election Commission’s media award for voter awareness during the 2024 Lok Sabha elections, presented by the president on National Voters’ Day. Community radio added 22 new stations, bringing the total to 551, with workshops and a national sammelan held during Waves to strengthen local broadcasting.

The 56th International Film Festival of India in Goa screened over 240 films from 81 countries, threw in the country’s first AI Film Festival, and staged a grand parade through Panaji that turned the event into a street-level celebration. The accompanying Waves Film Bazaar drew over 2,500 delegates from 40-plus countries and showcased 320 projects—making it one of South Asia’s largest film markets.

The Central Board of Film Certification modernised too, launching a multilingual certification module that allows multiple language versions under a single application, and mandating 50 per cent women’s participation on examining and revising committees. Digital signatures replaced wet ink, and certificates became downloadable—small victories in the fight against bureaucratic inertia.

India’s I&B  ministry ended 2025 having turned content creation into something resembling an industrial policy. Whether Rs 4,334 crores in “potential” business materialises remains to be seen, but the ministry has built the infrastructure, corralled the startups, and put Indian creators on international stages. As  Modi might say, the wave has been ridden. Now comes the hard part: keeping the momentum going when the cameras stop rolling.

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I&B Ministry

Centre drafts OTT rules to boost access for hearing disabled

New guidelines push captions, audio descriptions and inclusion to the mainstream

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MUMBAI: The Centre has inched closer to making India’s streaming universe easier to watch, hear and enjoy for everyone. The Ministry of Information and Broadcasting has released draft guidelines that aim to standardise accessibility on OTT platforms, ensuring that viewers with hearing and visual impairments are no longer left out of the country’s digital entertainment boom.

Issued on 7 October and now open for public consultation, the draft rules arrive with constitutional and global backing. Minister of State for Information and Broadcasting L. Murugan told the Rajya Sabha that the framework draws from Article 14, the UN Convention on the Rights of Persons with Disabilities and the Rights of Persons with Disabilities Act, 2016. It also mirrors the Code of Ethics under the IT Rules, 2021.

At the heart of the proposal is a two-phase rollout of mandatory accessibility tools such as same-language closed captions and audio descriptions. The ministry said penalties and enforcement steps will be shaped after the consultation, but compliance will be tracked through progressive targets for OTT content libraries.

Parliament was also reminded that the broadcast sector has walked this path before. In 2019, the government notified accessibility standards for television programming, starting with Prasar Bharati and eventually extending them to private broadcasters.

With OTT viewership climbing across urban and small-town India, the draft rules attempt to bring streaming giants in step with a wider vision of inclusive media. The government hopes the move will help millions of Indians with disabilities press play without barriers.

 

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