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The <keyword id="6355014" type="ORGANIZATION" weightage="100" keywordseo="Delhi-High-Court">Delhi High Court</keyword> has dismissed a plea by a group of international publishers seeking to put a ban on photocopying textbooks by the shops and kiosks around <keyword id="6360099" type="ORGANIZATION" weightage="20" keywordseo="Delhi-University">Delhi University</keyword>. While the verdict comes as a shocker for <keyword id="30725" type="ORGANIZATION" weightage="20" keywordseo="Oxford-university">Oxford University</keyword> Press, <keyword id="67350" type="ORGANIZATION" weightage="20" keywordseo="Cambridge-University">Cambridge University</keyword> Press and Taylor &amp; Francis, the students’ community at the university are quite elated. One of the students, <keyword id="824043" type="COMPANY" weightage="20" keywordseo="Business-Insider">Business Insider</keyword> spoke with, <keyword id="349608" type="PERSON" weightage="20" keywordseo="Megha-Jain">Megha Jain</keyword> of the department of Physics said, “It’s a great relief for us. Most of the books are priced above Rs 2000 and it’s simply not possible to buy all books. Even if the libraries have them it’s not possible to carry them home and study. Photocopy shops were often scared to get books copied out of fear. Now we can study better.” 
 “The plea is dismissed,” said Justice <keyword id="209895" type="PERSON" weightage="20" keywordseo="Rajiv-Sahai-Endlaw">Rajiv Sahai Endlaw</keyword>. The 94-page verdict infers that photocopying and making course packs for educational use by students are not in violation of intellectual property rights and the Copyright Act of 1957. 
 It all started some four years backs when the publishers formed a group and brought a case of copyright infringement against one Rameshwari <keyword id="3665438" type="UNKNOWN" weightage="20" keywordseo="photocopy-service">Photocopy Service</keyword>, a licensed vendor in Delhi University’s North Campus. Earlier in October of 2012, a lower court had passed an interim stay order that banned photocopies of text books to be sold. Many photocopy services stopped copying such books for the fear of legal action. 
 
The verdict states that the advancement of technology has made photocopying an economic way to deal with high priced books. The court feels, the students can obtain course materials at a much lower price. 
 
While it’s a joy for students community in India, which run on budgeted money most of the time, the publishers feel this would impact the academia in India. A reputed publisher on condition of anonymity said that if this is the way, there is in no way publishers invest money in reprinting and bringing international books to India. It also says that the very purpose of publishing is defeated and publishers might choose to stick to online-only format where often the materials are available only through subscriptions. 
 
Cambridge University Press, Oxford University Press and Taylor&amp; Francis in a joint statement have said, “We brought this case to protect authors, publishers and students from the potential effects on the Indian academic and educational book market caused by the widespread creation and distribution of unlicensed course packs by a copy shop operating from within the premises of the university, where a legitimate and affordable licensing scheme is already in place. It is unfortunate that the court’s decision could undermine the availability of original content for the benefit of students and teachers.” 
 
(Image: India Times)

Happy students for sure, but this decision by the Delhi High Court will legalise book piracy in India and wipe out the publishing industry

<keyword id="49089" type="General" weightage="80" keywordseo="sustainability" source="Orion">Sustainability</keyword> is among the most-effective business strategies in the 21st century. And communicating sustainability is also equally important for businesses to win the trust of customers and investors. In this competitive business environment, as corporates realise the importance of differentiating themselves on a ‘green platform’, recognising innovative campaigns offers a fresh way to foster creativity in sustainability. To achieve this cause, the India Chapter of the International Advertising Association (IC-IAA) launched the <keyword id="960483" type="General" weightage="80" keywordseo="olive-crown-awards" source="Orion">Olive Crown Awards</keyword> in April 2011. These awards are billed as Asia's first and only awards that salute excellence in communicating sustainability and are endorsed by the Asian Federation of Advertising Associations (AFAA). On April 28, at 7 pm, the 12th edition of the awards will be held in Mumbai. This week, the association announced that Shri <keyword id="6395773" type="General" weightage="80" keywordseo="aaditya-thackeray" source="Orion">Aaditya Thackeray</keyword>, Minister for Environment and Tourism, Govt. of Maharashtra, will be the Chief Guest for the event. The two-time Grammy Awards winner Ricky Kej will also grace the occasion. “Shri Aaditya Thackeray is not just the Minister for Environment but is also passionate about many environmental causes. His contribution to the eco-space has been significant. Something that had prompted the <keyword id="1546917" type="General" weightage="80" keywordseo="iaa" source="Orion">IAA</keyword> to present its prestigious Olive Crown-Green Crusader Award to him last year. We are privileged that he will grace this event," said Megha Tata, President, IC- IAA. With the growing global environmental concerns like climate change and chemical pollution, many companies have switched to eco-friendly processes, operations and products. Moreover, consistent socio-economic contributions of businesses at the regional and global scales are also becoming a norm. Following this, sustainability advertising is slowly getting into the mainstream by promoting social, economic, and environmental benefits of products, services or actions to encourage responsible behaviour among consumers. <keyword id="1625995" type="General" weightage="100" keywordseo="olive-crown" source="Orion">Olive Crown</keyword> Committee Chairperson Pradeep Dwivedi says, "The Olive Crown awards salute excellence in communicating sustainability. They are arguably the most meaningful awards from the Marcom industry. The event will see top industry leaders presenting and accepting these awards." The ceremony boasts the presence of 400 top marketing and media professionals in the audience, along with many senior executives from media, advertisement, and creative agencies. In the past, the list of illustrious guests at the Olive Crown Awards includes Piyush Goyal, Nita Ambani, Amitabh Bachchan, Praful Patel, John Abraham, Rana Kapoor, Priya Dutt, Amruta Fadnavis, Vivek Oberoi, Shaan, and Shankar Mahadevan. The most-anticipated award in the event is the IAA Olive Crown Green Crusader Award which has gone to Bittu Sahgal, Rajendra K. Pachauri, Kartikeya Sarabhai, Maneka Gandhi, <keyword id="258939" type="General" weightage="50" keywordseo="sumaira-abdulali" source="Orion">Sumaira Abdulali</keyword>, Bhavarlal Hiralal Jain, Dia Mirza, sand Isha Foundation’s Sadhguru Jaggi Vasudev in the last few years. In fact, Aaditya Thackeray was named ‘The Green Crusader of The Year 2021’ in September of last year. “These awards, now in their 12th year, have grown in stature over the years. We are very pleased that the scope of these awards has been growing as well. This year we have announced that we will be supporting the SaveSoil movement with an awareness program. The winning entries will be showcased at this event," said Neeraj Roy, Co-Chair of Olive Crown Committee. IAA claims that Olive Crown is an opportunity to associate with a topical issue of sustainability in front of all major advertisers and agencies. As a cause Award, it does not charge any entry fee for these Awards and allows guests by invitation only. Some of the award categories to look out for include young green writer and art director of the year; green brand, campaign, and agency of the year; corporate social crusader and new-age green initiatives. Stay tuned for more updates on the IAA Olive Crown Awards and the winners for the year 2022! Disclaimer: Sustainability Insider/Business Insider is a Digital Media Partner for the IAA Olive Crown Awards 2022. SEE ALSO: <a target="_blank" class="c-link c-message_attachment__title_link" href="https://www.businessinsider.in/sustainability/news/preserving-health-of-our-oceans-is-key-to-tackling-climate-challenges-says-eib-commits-20-million-to-combat-plastic-pollution/articleshow/91117380.cms">'Preserving health of our oceans is key to tackling climate challenges', says EIB; Commits $20 million to combat plastic pollution</a> <a target="_blank" class="c-link c-message_attachment__title_link" href="https://www.businessinsider.in/science/environment/news/disasters-like-earthquakes-and-tsunamis-are-pushing-more-people-into-poverty-but-there-is-some-good-news-too/slidelist/91120839.cms">Disasters like earthquakes and tsunamis are pushing more people into poverty, but there is some good news too</a>

Aaditya Thackeray, Ricky Kej to grace IAA Olive Crown Awards — Asia's first and only awards for communicating sustainability — on April 28

<ul><li>As we enter a new year, we wanted to understand what to expect from the Over-the-top (<keyword id="1245953" type="General" weightage="20" keywordseo="ott" source="Orion">OTT</keyword>) industry in 2022.</li><li>In today's feature, we speak to industry experts who share their thoughts on what this year has in store for us.</li></ul>After 2020 we had hoped that 2021 would bring us some respite from the pandemic. However, things were challenging for a large part of the year. With many of us stuck within the four walls of our house for the most part of the year, OTT platforms sometimes became the only source of entertainment in our lives. Not only did 2021 see the launch of a lot of big-budget originals on various OTT platforms, a lot of movies like Sardar Udham Singh, Mimi and Shershaah launched on these platforms. Content producing companies put their best foot forward and created award-winning shows that won both commercial and critical acclaim. There has been a visible increase in investments in content production, a trend that is here to stay in 2022 as well. A recent joint report by industry body CII and Boston Consulting Group (BCG) stated that the Indian OTT sector is currently in the scaling stage with strong subscription growth and high investment in premium as well as original content. The Indian OTT sector is one of the most competitive amongst emerging markets with over 40 players. While there have been debates about more and more people moving away from TV, Mandeep Kohli, Managing Director and Partner, Boston Consulting Group India states that we are still some time away from that happening at a large scale in India. “The share of traditional media is slowly declining with increased digital adoption but there is still high headroom for penetration with only 54% of Indian households having a pay TV connection compared to more than 70% in China. For many households, TV continues to be the center of the home and a significant part of family time,” said Kohli, Managing Director and Partner, Boston Consulting Group India. The report further stated that the industry is at a scaling stage currently and has the potential to become a $13-15 billion industry by 2030. To understand what the new year has in store for us, we spoke to a few of the most important voices from India’s OTT industry, along with some of the biggest content production houses. Here is what they had to say about what lies ahead: Manish Kalra, Chief Business Officer, <keyword id="6245082" type="General" weightage="20" keywordseo="zee5" source="Orion">ZEE5</keyword> India The already-growing online media and entertainment business received a major boost with the black swan event that the Covid-19 pandemic was, setting a new growth trajectory in the last year. The audience adopted a more digitally advanced way of entertainment, something that went beyond the conventional mediums, leading to mass adoption of OTT platforms which resulted in a surge in both viewership and watch-time. This pandemic-induced growth in demand for quality content led to an increased focus on storytelling across languages leading to the creation of extensive and expansive content libraries. People also became more open to sampling diverse content from different languages and were keener to opt for the living room experience thanks to the increased adoption of connected devices. This growth of the connected devices ecosystem has made OTT a preferred choice not only for personal but also for family consumption. At ZEE5, we have seen a 3X growth in the viewership on connected devices. The rise in power-packed dynamic storytelling and the rise of connected devices has led to the advent of the ‘Home Box Office’ which is a trend that is here to stay. While we grew 200% this year at the back of an aggressive slate of content line-up and hyper-personalization, we aim to make deeper inroads into Indian homes going into 2022. Sameer Nair, CEO, <keyword id="1322450" type="General" weightage="20" keywordseo="applause-entertainment" source="Orion">Applause Entertainment</keyword> <div type="image" title="IMG_8153 (1)" msid="88694220" hostid="261"></div> I believe the biggest emerging trend for the streaming industry in 2022 and beyond is the increasing flattening of the Earth, with both geographical borders and language barriers breaking down as internet connectivity reaches the remotest audiences. Our audiences, both local and global, have become smarter, more perceptive and way more critical; this requires us as Content Creators and Distributors to significantly improve the quality of our storytelling, of our productions and of the consumer experience we offer. Authentic, rooted stories that have a universal appeal can and will breakout to reach audiences globally. The more we collaborate with talent from diverse cultures and geographies, the richer we will become as storytellers. The ‘One Planet One Species Shared Cultures’ is an idea whose time is truly upon us. Divya Dixit, SVP, Marketing &amp; Revenue, <keyword id="4241922" type="General" weightage="20" keywordseo="altbalaji" source="Orion">ALTBalaji</keyword> With the traditional marketing budgets on a decline and digital and influencer marketing taking center stage, there are many trends, however interrelated, that we will see emerging in 2022. The digital audiovisual industry will explode; according to Bain and Company, India's online video user base has increased to more than 350 million people, growing 24% in the last three years. Influencer marketing will rapidly move to include micro-influencers and not just be dependent on Celebrity influencers, thereby also promoting UGC. Video marketing, live streaming will give rise to Social commerce and tier 2 and 3 cities will claim the growth chart curve. With all these interrelated events/trends triggering off, Users will expect personalized experiences which will be offset by deeper integration of ML, which will give rise to AI usage; however, the world of marketers will also see a more focused emerging curve towards Organic retention – CRM, surveys, retention tools, recommendation cycles, SEO, UI/UX as Google continues the stance of stopping 3rd party cookies by end of 2023. Manjit Sachdev- Head – Originals, Voot and Voot Select, Viacom18 Digital Ventures <div type="image" title="Manjit Sachdev _Head Content at VOOT AND VOOT Select" msid="88694240" hostid="261"></div> After an unprecedented 2020, with an acceleration in the growth of OTT platforms, 2021 was a year for creating milestones in curating unique and enthralling stories for the audience. Now as we step into 2022 with hope and resilience, the OTT sector will witness an increase in the demand for personalized and purpose-driven content. Given the increasing competition in the OTT space, staying relevant and purposeful is most critical. Considering the changing realities in today's times, having a purpose-driven story telling approach is the way to go. Content with purpose has the power to travel beyond boundaries, spread values, knowledge and positivity and build deeper engagement with subscribers. This trend will act as a key differentiator in changing behaviours. Megha Tata, Managing Director, South Asia, Discovery, Inc As SVOD continues to grow aggressively, we are seeing an increasing number of audiences now willing to pay for good content. I believe a right combination of compelling content and pricing would be the key in attracting a bigger share of consumers into the SVOD world next year. Also, differentiated programming will add to a player’s competitive advantage in the midst of most mainstream players offering similar content. This is a trend familiar to what we saw even broadcast channels go through. I believe some players will be able to carve out a niche for themselves, while most streaming catalogs will end up resembling each other. Rishi Negi, COO, Banijay Asia 2020 was a game changer for the whole world, we strategized a smooth transition to the streaming era and the year 2021 was about sustaining the positive change and envisioning the prospects of growth. With changing narratives and experimental content taking a lead, along with the fact that the data &amp; streaming charges have dropped, has resulted in the content reaching a much bigger audience. I anticipate the year 2022 to be vibrant with original productions, compelling storytelling and some path-breaking performances. Fighting the content inflation with a wide variety of exceptional chronicles intertwined with existing catalog shows in this post-pandemic world, viewers are streaming more than ever. With nominal data plan and streaming charges, content is reaching even the darkest corner of the world. Considering the pace of content transmission, at Banijay Asia, we have become more aggressive towards producing content that delights the heartland of India. We see a hike in demand for stories which are untold, female centric and with CTV on the rise, we anticipate growing interest in regional unscripted content in 2022. While we have seen this trend kickstart already with our Tamil unscripted show The Survivors as it received unparalleled response from the audience and our hinterland drama Matsya Kaand recently crossed a 100M views on <keyword id="2214311" type="General" weightage="20" keywordseo="mx-player" source="Orion">MX Player</keyword> within a month. These numbers affirm that the trendsmap that we're following leads to a sustainable future. Given these past two years have been a real tester, we have pushed through every possible challenge posed by the virus this year and successfully produced shows for the streaming giants and kept the show running. While we have covered grounds with our scripted, non-scripted, international format adaptation, book adaptations, in the upcoming year, we aim to keep up with our pace and keep reinventing our ways. To sum it up, we are thoroughly looking forward to 2022 to be a year full of exciting and enthralling projects to keep our audiences engaged and invested. Rohit Jain, Managing Director, <keyword id="193261" type="General" weightage="20" keywordseo="Lionsgate" source="Orion">Lionsgate</keyword> South Asia and Networks, Emerging Markets Asia 2022 is going to be an exciting year for OTT players as the content pipeline will be stronger than ever. While the pandemic has leapfrogged growth in terms of viewers and subscription we expect 2022 to further amplify the reach and will witness growth not only in the metros but also in tier II &amp; tier III cities. Today’s viewers are constantly looking for edgy and unique stories. We have always said premium content is the ultimate winner. The OTT industry will have to concentrate on quality content over quantity of content. Siddhartha Roy, COO, Hungama Digital Media The media and entertainment industry has been making rapid strides in the interior of India. Regional markets are becoming the industry’s point of convergence as the digital infrastructure expands across the length and breadth of the country. Content houses and creators are going vocal through local, thereby, making homegrown, high-quality content available at the click of a button. Going further, consumption of entertainment, in addition to audio and video, will be extended to varied mediums, such as gaming. As the Indian online gaming sector is witnessing tremendous growth in 2020 it sets a tone that gaming will be the next big thing. The industry will witness a rapid rise in the use of AI and ML to create a customised and personalised experience for audiences. This makes industry consumer friendly; not just that, it helps in massive consumption and double consumer engagement. Hiren Gada, CEO-Shemaroo Entertainment Ltd <div type="image" title="Hiren Gada, CEO, Shemaroo Entertainment Ltd." msid="88726664" hostid="261"></div> With regional internet penetration growing at a rapid pace, localization of content and OTT apps are going to be one of the emerging trends to look out for. Content that was earlier restricted to just Bollywood and Hollywood is getting extended to other native languages and it is going to play a key role in attracting new consumers and in supporting other industries such as dubbing and subtitling that will further boost the content bank. Other than localization, we will also see content being offered across other segments that include devotional, and kids’ categories. As we see new OTT apps being launched almost every month with multiple paying models, the consumers will have more flexibility and power to make their own choices. With increased smartphone adoption along with affordable data, mobile penetration of the OTT will see more focus. Mobile-centric plans have been introduced by most OTTs today to cater to the Millennials and GenZs who have the hunger to consume content but not the deep pockets to pay. This space will continue to grow with the increased bundling of OTT by telecos. Additionally, the arrival of 5G which is most likely to take off this year will be a game-changer not just for the OTTs but also for the consumers. It will enable faster connectivity, accessibility to content and further enhance the viewing experience with reduced buffering issues, and an uninterrupted real-time streaming experience. Shailesh Kapoor, The Founder &amp; CEO, Ormax Media The last two years have been exceptional for the OTT market in India, aided in no small measure by the lockdowns. As things begin to get back to normal, the question that we will hear a lot more in 2022 is: Where is the next level of OTT growth in India going to come from? The category has grown at an estimated 30-35% in its user base and more than 50% in paid subscriptions over the last two years. But these growth rates are not sustainable in the long run. Platforms will have to look for offerings that are both compelling and distinctive, to get new subscribers in a category that will continue to grow, but at more modest levels of 15-20% per annum. Crossover content, be it Indian (such as Jai Bhim) or foreign (such as Squid Game or Money Heist), will play an important role in this regard. The language barrier has been broken considerably by the OTT medium, and with dubbing and subtitles available in many languages for all major shows and films now, platforms cannot stick to single-language, homogenous offerings anymore. We can expect more language-led experimentation, both in content acquisition and presentation."

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Happy students for sure, but this decision by the Delhi High Court will legalise book piracy in India and wipe out the publishing industry

Suchayan Mandal

Aaditya Thackeray, Ricky Kej to grace IAA Olive Crown Awards — Asia's first and only awards for communicating sustainability — on April 28

BI India Bureau

Where the Indian OTT industry is headed in 2022

Samarpita Banerjee

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