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<ul><li>Regulation of OTT platforms and digital news providers will now fall under the gambit of the Information and Broadcasting (I&amp;B) Ministry instead of the Ministry of Electronics and Information Technology (MeiTY).</li><li>With the winter session of parliament right around the corner, many are nervous that this could indicate more than just the changing of the guard. </li><li>Here are the burning unanswered questions that the online community is wondering about.</li></ul>The regulation of OTT platforms like <keyword id="128682" type="COMPANY" weightage="20" keywordseo="Netflix">Netflix</keyword>, HotstarDisney+, Amazon Prime Video and others has been pulled from the Ministry of Electronics and Information Technology (MeiTY) and handed off to the Information and Broadcasting (I&amp;B) Ministry. Aside from the changing of the guard, the government is yet to shed light on what it actually means for the OTT channel and news content curators themselves. One can only assume that a new regulatory framework will be put in place to address the challenges that have cropped in recent years. The winter session of Parliament is also right around the corner. “Although there is little to no clarity about what this entails for different types of intermediaries, platform and content creators, it portends a regime with more interference from the Ministry of I&amp;B and less reliance on self-regulation by the OTT platforms extending the censorship heavy legacy to the Internet,” technology lawyer and founder of the Software Freedom Law Center (SFLC) told Business Insider. Despite the ambiguity, Internet Freedom Foundation chair and founder of SaveTheInternet Raman Chima, also believes that this is more than just a reorganisation of departments. “It does indicate government intent. That is definitely worrying. This change was made without any proper public consultation,” he explained on <a href="https://twitter.com/tame_wildcard/status/1326553154893217795">Twitter</a>. Here are some of the unanswered questions around what the change in regulations could mean for OTT platforms and news content providers: <ul><li>Will the government be holding a discussion with stakeholders before implementing new regulations?</li></ul>Some experts believe that there is a trend in the making. First, the government added a regulatory structure around foreign direct investment (FDI) and now, it’s looking to regulate content. <ul><li>Will the new regulations be on par with current regulations currently in place?</li></ul>The key obstacle they will face is that, at a technical level, broadcast, print and digital aren’t the same. This will make treating them as the same increasingly difficult. <ul><li>How will user-generated content be regulated on platforms like YouTube, Facebook and others?</li></ul>While OTT platforms curate content and are responsible for what goes up on the platform, YouTube and Facebook are ‘intermediaries’. This means that they do take any responsibility for the content that is posted on their site, and instead pass the buck onto individual users. <ul><li>How will digital news media be defined? Will personal channels like Dhruv Rathi and Akash Banerjee come under digital news media?</li></ul>The mediums used to dispense the news in the digital era expands well beyond the written word or even structured news publications. There are influencers like Dhruv Rathi analysing the news, personalised newsletters that people can subscribe to, instagram alerts and so much more. The new regulations will have to define what amounts to news, and what does not. <ul><li>Will every news organisation on the internet will have to register itself?</li></ul>Not every news publication exists in the brick-and-mortar world, some are only digital. In fact, the freedom to register a website and dispense content at a minimal cost is of the primary pros of being on the internet. But non-digital news organisations have to register and get government approval before they can take off. If the same applies to the online world, it should lead to a drastic cut in the number of publications able to report the news. <ul><li>Will this mean nobody can post on YouTube or Facebook if they’re not registered?</li></ul>In addition to channels and influencers, day-to-day users also express their opinion and share the news online. Like FM channels, will this mean that those who are not registered will no longer be allowed to post about the news on social networking hubs like Facebook, Twitter and YouTube? Will generic vlogs be flagged or taken down should they make mention of any current events? <ul><li>Will there be a cap on subscriptions and memberships, or a minimum rate that can be charged?</li></ul>News publications and individuals are also offering newsletters and subscriptions. The new slew of regulations hold the potential to cap the number of people who can sign up. They could also dictate a ceiling price that would limit how much can be charged for such services. <ul><li>Is the government going to block any news outfit or OTT that’s not registered in India?</li></ul>In addition to the publications in India, it’s uncertain what the regulations will mean for foreign entities. While they do report on India, without registering with the government on par with print regulations the government may block access. <ul><li>Will content rules for OTT platforms now be the same as the ones for television channels?</li></ul>Television channels have to adhere to strict rules about what can and cannot be said while OTT platforms do not. This has been one of the critical reasons behind the success of shows like Sacred Games, or Mirzapur. <ul><li>Will movies that release exclusively on the internet now require a certification from the licensing board?</li></ul>Movies that get released online don’t need to be licensed by Central Board of Film Certification. But with the I&amp;B Ministry at the helm, they may have to adhere to the rules and regulations of the board, which many fear will restrict creative expression. The way news is disseminated is also diversifying. Publications have alerts on WhatsApp and Telegram, others have personalised newsletters, and most are spread across difficult mediums — from text to video to podcasts. Individual states already have anti fake-news task forces within their ranks that have thus far proven ineffective, other than in cases on anti-government news deemed to be misleading. Given the wide array of complications in implementing blanket regulations, the task will be nearly impossible to execute. So, what remains to be seen, is what the government’s intent is behind bringing a new regulatory authority for OTT platforms and news content providers. SEE ALSO: <a href="https://www.businessinsider.in/tech/apps/news/google-photos-will-no-longer-offer-free-and-unlimited-photo-uploads-starting-june-next-year/articleshow/79184955.cms">Google Photos' most endearing feature is going out the window starting June next year</a> <a href="https://www.businessinsider.in/india/news/psu-bank-employees-wage-revision-finalised-after-three-years-of-waiting-only-a-1500-increase-in-salary-for-officers/articleshow/79166497.cms">PSU bank employees wage revision finalised after three years of waiting — only a ₹1,500 increase in salary for officers</a> <a href="https://www.businessinsider.in/tech/apps/news/instagram-down-users-complain-of-frozen-timelines-and-likes/articleshow/79146012.cms">Instagram down for a second consecutive day — Facebook is working on a fix but has not disclosed what's wrong</a>

Unanswered questions as regulation of OTT platforms and digital news providers moves from one government department to another

<ul><li>Following the controversy around the Saif Ali Khan-starrer <keyword id="1299578" type="PERSON" weightage="20" keywordseo="Tandav">Tandav</keyword> when several FIRs were filed against it, Unio Minister <keyword id="119642" type="PERSON" weightage="20" keywordseo="Prakash-Javadekar">Prakash Javadekar</keyword> has announced that the <keyword id="82970" type="COMPANY" weightage="20" keywordseo="Ministry-of-Information-and-Broadcasting">Ministry of Information and Broadcasting</keyword> will soon come out with a set of guidelines to regulate it.</li><li>The move is a response to the multiple complaints received against several web series on various platforms.</li></ul>In view of the rising number of complaints received against content on various <keyword id="2354450" type="PERSON" weightage="20" keywordseo="Over-the-top">Over-the-Top</keyword> (<keyword id="1245953" type="COMPANY" weightage="20" keywordseo="OTT">OTT</keyword>) platforms, the Ministry of Information and Broadcasting will soon come out with a set of guidelines to regulate it, Union Minister Prakash Javadekar said. Over the past few weeks, Saif Ali Khan-starrer Tandav on Amazon Prime received a lot of criticism with multiple FIRs being filed against it in several states. The ministry had received several complaints against Tandav for its depiction of Hindu Gods in the show and for hurting religious sentiments of people. The announcement by the Union Minister closely follows the controversy. Films and serials released on OTT platforms and digital newspapers do not come under the purview of the Press Council Act, Cable Television Networks (<keyword id="163506" type="ORGANIZATION" weightage="20" keywordseo="regulation">Regulation</keyword>) Act or Censor Board and therefore there will be some guidelines soon to regulate the content, Javadekar said during a press conference. In November last year, the government brought OTT platforms under Ministry of Information and Broadcasting’s ambit. Previously, these platforms used to come under the <keyword id="3428254" type="COMPANY" weightage="20" keywordseo="ministry-of-electronics-and-information-technology">Ministry of Electronics and Information Technology</keyword>.

Following the Tandav controversy, government to start regulating OTT content

The government has made it mandatory for <keyword id="5293670" type="General" weightage="20" keywordseo="ott-platforms" source="Orion">OTT platforms</keyword> to display an anti-tobacco health warning as a prominent static message at the bottom of the screen during the period of a tobacco product being displayed or used in a programme, the Rajya Sabha was told on Tuesday. The government notified the Cigarettes and other Tobacco Products (Prohibition of Advertisement and Regulation of Trade and Commerce, Production, Supply and Distribution) Amendment Rules, 2023 on May 31, Minister of State for Health SP Singh Baghel said in a written reply. According to the amended rules, every publisher of online curated contents displaying tobacco products or their use has to display anti-tobacco health spots, for a minimum 30 seconds each at the beginning and middle of the programme. They have to display anti-tobacco health warning as a prominent static message at the bottom of the screen during the period of display of the tobacco products or their use in the programme, and also display an audio-visual disclaimer on the ill-effects of tobacco for a minimum 20 seconds each in the beginning and middle of the programme, Baghel said in his written reply. Moreover, all compliance is ensured as per Rule (6) of the Amendment Rules, 2023 through an inter-ministerial committee consisting of representatives from the Ministry of Health and Family Welfare, Ministry of Information and Broadcasting and Ministry of Electronics and Information Technology.

Now, OTT platforms must display anti-tobacco warnings onscreen

<ul><li><keyword id="5293670" type="UNKNOWN" weightage="20" keywordseo="OTT-platforms">OTT platforms</keyword> and <keyword id="10257445" type="UNKNOWN" weightage="20" keywordseo="news-content-providers">news content providers</keyword> in India will no longer be regulated by the Ministry of Electronics and Information Technology (MeitY) but by the Information and Broadcasting (I&amp;B) Ministry instead. </li><li>The changing of the guard comes with its own set of challenges like figuring out how user-generated content will be handled versus curated content.</li><li>The <keyword id="57751" type="ORGANIZATION" weightage="20" keywordseo="IB-ministry">I&amp;B Ministry</keyword> will also have to figure out how to navigate the multilingual landscape where more and more players are popping up by the day.</li></ul><keyword id="2976376" type="PERSON" weightage="20" keywordseo="Amazon-Prime-Video">Amazon Prime Video</keyword>, Netflix, Disney+ Hotstar and other over-the-top (OTT) platforms will no longer fall under the jurisdiction of the Ministry of Electronics and Information Technology (MeitY). Instead, their content will be regulated by the Information and Broadcasting (I&amp;B) Ministry, according to a notification signed by India's President Ram Nath Kovind. This is contrary to the ‘self regulation’ that the platforms prefer. However, the move has not come as a surprise. “Convergence of various ministries is extremely necessary with changes that are coming only in the country but also beyond,” said Amit Khare, secretary of the I&amp;B Ministry, during a <a href="https://eframes.24x7attend.in/">FICCI webinar</a> back in July when he hinted that a changing of the guard may be in the works. <div type="twitter" handle="barandbench" handlename="Bar &amp; Bench" image="http://pbs.twimg.com/profile_images/1304761912068984833/5-qPfQOb_normal.jpg" favoritecount="295" retweetcount="74" status="Cabinet Secretariat amends Government of India (Allocation of Business) Rules to bring online news and current affa… https://t.co/JwWP7pEVYN" createdat="1605072916000" id="1326398066203758592"></div> Distinguishing between user-generated content and curated content According to the Counterpoint analyst Tarun Pathak, the change in regulation marks a significant change. But the challenge now will be to distinguish between streaming platforms that curate content — like Netflix, Amazon Prime and others — and platforms that host user-generated content, which includes the likes of YouTube and Facebook. The latter are deemed ‘intermediaries’ under the IT Act and do not have active control over the content available on such platforms. The IT Act also recognizes this distinction between different platforms. It is uncertain as of right now whether that same distinction will be made under the I&amp;B Ministry's rule as well. The surge in online content The regulatory regimes for platforms in India — print, radio, television, films, and now, OTT — have largely been developed as per the platform. Some are self-regulated, some are pre-regulated, some are post-regulated and one still stands unregulated. Until now the likes of Amazon, Netflix, Disney+ Hotstar and others fell under the jurisdiction of the MeitY since they are digital solutions. Moreover, at the time of the formation of the IT Act, the OTT platforms had limited penetration. And, since then, their content has been largely unregulated with the exception of any self-regulation they put in place for themselves. The explosion in use of these platforms due to cheap smartphones and affordable data tariffs made the debate on regulation inevitable. “As many platforms are user content-driven and multilingual, it is almost impossible to set up a film like certification system. The internet by nature is free to circulate content, and there is always a very thin line between regulation and censorship,” Tanu Banerjee, the Media &amp; Entertainment Partner at Induslaw, told Business Insider. “In my view, it should be a collaborative approach between the Govt and OTT platforms players to come up with a mechanism to make the internet a better place for its users.” I&amp;B vs MeitY Two years ago, I&amp;B formed a committee to devise ways to regulate online media and other Internet content was <a href="https://www.hindustantimes.com/india-news/ministry-of-information-and-broadcasting-panel-to-be-replaced-soon/story-xZEXuPqIyoitGmRyFIt3gN.html">disbanded</a> after the Prime Minister’s cabinet was reshuffled. Its mandate was handed over to a panel overseen by MeitY. Then earlier this, when the topic of regulation was broached again, MeitY asserted that the Information Technology (IT) Act 2000 and its intermediary guidelines governed the conduct for all third party content — including content pushed by OTTs. This meant that the regulation of online platforms stands with MeitY, not the I&amp;B Ministry. I&amp;B, on the other hand, has been asking streaming services to come up with a code of conduct and finalise the details of the Digital Content Complaints Committee (DCCC), similar to the Broadcast Content Complaints Committee (BCCC). It was only in September 2020, that <a href="https://www.businessinsider.in/policy/news/self-regulation-code-adopted-by-disney-hotstar-amazon-prime-and-other-ott-platforms-what-is-this-code/articleshow/78009955.cms">17 large OTT players signed a self regulation code to govern content on their platform</a>, which included the mandate to have a DCCC set up. SEE ALSO: <a href="https://www.businessinsider.in/politics/india/news/checkout-here-bihar-assembly-election-2020-results-and-updates-online/articleshow/79142084.cms">Bihar Election Results 2020: Final tally puts NDA in the majority with 125 seats as RJD remains the single largest party</a> <a href="https://www.businessinsider.in/business/ecommerce/news/americans-cant-resist-the-alibaba-singles-day-sales-us-tops-in-gmv-for-sales-from-the-chinese-e-commerce-giant-so-far/articleshow/79165246.cms">Americans can’t resist the Alibaba Singles’ Day Sales – US tops in GMV for sales from the Chinese e-commerce giant so far</a> <a href="https://www.businessinsider.in/india/news/psu-bank-employees-wage-revision-finalised-after-three-years-of-waiting-only-a-1500-increase-in-salary-for-officers/articleshow/79166497.cms">PSU bank employees wage revision finalised after three years of waiting — only a ₹1,500 increase in salary for officers</a>

The likes of Hotstar, Netflix and even news content providers will now be regulated by the I&B Ministry, contrary to what the platforms would like

(Image source- Reuters) <ul><li>The Ministry of <keyword id="189147" type="ORGANIZATION" weightage="20" keywordseo="Information-and-Broadcasting">Information and Broadcasting</keyword> is scrapping a clause in its Press and Registration of Books and Periodicals (PRBP) Bill which is directed at the regulation of <keyword id="6483703" type="UNKNOWN" weightage="20" keywordseo="paid-news">paid news</keyword>. </li><li>This is reportedly due to the fact that the bill, like the 151-year act that it is meant to replace, is squarely focused on the registration, title verification and distribution of newspapers and books. </li><li>The information and broadcasting ministry doesn’t, however, intend to ignore the issue of paid news. It could end up regulating paid news through an amendment to the Press Council Act of 1978, which deals with publishing standards.</li></ul>India does not have any specific legislation to prohibit paid news. That was supposed to change with the Indian <keyword id="26362" type="ORGANIZATION" weightage="20" keywordseo="Government">government</keyword>’s new Press and Registration of Books and Periodicals (PRBP) Bill, which was being drafted to replace the 151-year old <a href="https://www.mib.gov.in/acts/press-registration-books-act-1867">Press and Registration of Books Act</a>. However, the Ministry of Information and Broadcasting is scrapping a clause in the bill which is directed at the regulation of paid news, sources told <a href="https://indianexpress.com/article/india/information-and-broadcasting-to-drop-paid-news-regulation-in-draft-bill-newspapers-magazines-5492867/">the Indian Express</a>. The reason? It doesn’t fall under the purview of the new bill, which has been in the works <a href="https://www.livemint.com/Politics/xL41AoS7VB2cRBXLsljfeM/Tough-rules-on-paid-news-proposed-in-draft-Press-Bill.html">since 2013</a>. The bill is supposedly meant to only deal with the registration, title verification and distribution of newspapers and books. The content of newspapers does not fall under the PRBP Bill, just like the draconian Press and Registration of Books Act. The clause aimed at preventing paid news by imposing a 45-day suspension on publications with such content. In the event that the publication continued publishing paid news, it’s license was to be revoked. The bill would also have helped establish a legal, binding definition of “paid news”. The Press Council of India <a href="http://presscouncil.nic.in/OldWebsite/CouncilReport.pdf">defines </a>paid news rather broadly as “any news or analysis appearing in any media for a price in cash or kind as consideration”. The information and broadcasting ministry does, however, intend to regulate paid news. The most likely route for this will be through an amendment to the <a href="http://presscouncil.nic.in/OldWebsite/act.htm">Press Council Act</a> of 1978, which deals with publishing standards. Until then, it seems that the publishing of paid propaganda will be legal for the most part. India’s Election Commission (EC) took a stand on the issue of paid news last year when it <a href="https://economictimes.indiatimes.com/news/politics-and-nation/election-commission-disqualifies-madhya-pradesh-minister-narottam-mishra/articleshow/59302619.cms">disqualified</a> Narottam Mishra, Madhya Pradesh’s of Public Relations, Water Resources and Parliamentary Affairs, for publishing false accounts of his election expenditure when campaigning for state polls in 2008. In the absence of a paid news law, it had to rely on a section of the Representation of Peoples Act related to to false reporting of expenditure. These false accounts related to expenditure on 42 samples of promotional media material which were meant to improve his election chances. However, in May 2018, the Delhi High Court <a href="https://scroll.in/latest/879478/delhi-hc-sets-aside-poll-bodys-decision-to-disqualify-madhya-pradesh-minister-in-paid-news-case">imposed a stay</a> on the order, citing insufficient evidence. In a troubling decision, it further <a href="https://economictimes.indiatimes.com/news/politics-and-nation/election-commission-cant-regulate-content-of-media-article-says-high-court/articleshow/64250886.cms">explained</a> that the EC could not regulate a candidate’s free speech. SEE ALSO: <a href="https://www.businessinsider.in/indias-election-commission-is-working-to-limit-how-much-political-parties-spend-on-election-campaigns/articleshow/66028442.cms">India's Election Commission is working to limit how much political parties spend on election campaigns</a>

India’s information and broadcasting ministry is discarding an important clause on paid news from its new press regulations bill

<ul><li>The Ministry of Information and Broadcasting has prepared a draft Bill titled RPP Bill, 2019 to replace the existing PRB Act, 1867. </li><li>The bill proposes to bring e-papers and digital media news under MIB’s purview.</li><li>The bill also recommends having a simple system of registration for e-papers and enables the Government to frame rules for issuing Government ads in newspapers. </li></ul>The <keyword id="510157" type="ORGANIZATION" weightage="20" keywordseo="Ministry-of-Information-and-Broadcast">Ministry of Information and Broadcast</keyword> (MIB) has proposed a draft to replace Press and Registration of Books (PRB) Act, 1867 with <keyword id="8379576" type="UNKNOWN" weightage="20" keywordseo="registration-of-press-and-periodicals-bill-2019">Registration of Press and Periodicals Bill 2019</keyword>. Under the new Bill, MIB proposes to bring e-papers and digital news under its purview. The Bill also proposes to do away with the existing procedure of furnishing of declaration by publishers or printers before the District Magistrate and its subsequent authentication. If passed, it would enable the Central Government and the State Government to frame rules and regulate the conditions for issuing Government advertisements in newspapers, accreditation of newspapers and such other facilities for newspapers. It further proposes to have a simple system of registration of e-papers. The process of title and registration of periodicals including newspapers is also proposed to be effected centrally by the Press Registrar General.

Ministry of Information and Broadcast to bring e-papers and digital news under its purview

<ul><li>In addition to governing OTT and <keyword id="1020663" type="PERSON" weightage="20" keywordseo="social-media-platforms">social media platforms</keyword>, the government has also put out new rules for <keyword id="1392420" type="PERSON" weightage="20" keywordseo="digital-news">digital news</keyword> companies.</li><li>Digital news can be anything from press conferences to analysis pieces regardless of whether they’re socio-political, economic or cultural in nature.</li><li>Digital news organisations are facing a 30-day deadline to register themselves with the Ministry of Information and Broadcasting (MIB).</li></ul>The Indian government has come up with a new set of rules and regulations to regulate social media platforms, messaging services, OTT platforms and news portals. <div type="Article" hostid="261" msid="81208643" title="Facebook and Twitter have a ton of new rules to abide by in India ⁠— WhatsApp may find itself in the toughest spot of all" mstype="2" mssubtype="0"></div> News content in print and television media is regulated by laws specific to each medium, and no such laws were applicable to digital news till now. Digital news portals have now been brought under the ambit of the rules governing print and television media. A wide net for what can be considered to be news In a move to level the playing field vis-à-vis print and television media, the Rules now require digital news portals to comply with norms of the Press Council of India, and the Programme Code under Cable Television Networks Regulation Act, 1995. The term ‘news and current affairs’ was not previously defined under any legislation and created ambiguity. The Rules define ‘news and current affairs’ in a wide manner and may bring within its purview content which is not traditionally considered news. “‘News and current affairs content’ includes newly received or noteworthy information, including analysis, especially about recent events primarily of socio-political, economic or cultural nature, available over the internet or computer networks,” define the new IT Rules. Register yourself if you want to be in the news business All digital news portals are required to furnish their information to the MIB within 30 days of the notification of the Rules. Overall, the Rules are a significant departure from the existing framework and impose considerable compliances for digital media. Digital media has provided Indian users an easy and accessible way to express themselves. While the Rules aim to tackle problematic and unlawful content, whether a balance between freedom and regulation will be achieved, remains to be seen. Digital platforms will have to establish prescribed procedures and mechanisms to comply with the Rules and implementation of several processes will need further clarity. SEE ALSO: <a href="https://www.businessinsider.in/tech/apps/news/whatsapp-signal-and-telegram-face-a-catch-22-situation-as-indias-new-social-media-rules-threaten-encryption/articleshow/81221070.cms">Whatsapp, Signal and Telegram face a catch-22 situation as India’s new social media rules threaten encryption</a> <a href="https://www.businessinsider.in/tech/news/facebook-and-twitter-have-a-ton-of-new-rules-to-abide-by-in-india-whatsapp-may-find-itself-in-the-toughest-spot-of-all/articleshow/81208643.cms">Facebook and Twitter have a ton of new rules to abide by in India ⁠— WhatsApp may find itself in the toughest spot of all</a> <a href="https://www.businessinsider.in/india/news/indian-government-assumes-the-right-to-block-digital-news-content-along-with-a-new-set-of-regulations/articleshow/81209053.cms">Indian government assumes the right to block digital news content along with a new set of regulations</a>

OPINION: Regulating digital news is important but freedom of press is precious

<ul><li>IBF is being renamed as <keyword id="11329818" type="UNKNOWN" weightage="20" keywordseo="Indian-Broadcasting-and-Digital-Foundation">Indian Broadcasting and Digital Foundation</keyword> (IBDF), as it expands its purview to cover digital platforms to bring all digital (OTT) players under one roof. </li><li>The Council includes national award-winning filmmaker Nikkhil Advani; Deepak Dhar, CEO and founder, Banijay Group; prominent artist, filmmaker and writer Ashwiny Iyer Tiwari; and creative writer and innovative director, Tigmanshu Dhulia.</li></ul><keyword id="7326546" type="UNKNOWN" weightage="20" keywordseo="the-indian-broadcasting-foundation">The Indian Broadcasting Foundation</keyword> (IBF), which is soon going to be renamed as Indian Broadcasting &amp; Digital Foundation (IBDF), the apex body of broadcasters and OTT operators, has today announced the appointment of Justice (Retd.) <keyword id="205721" type="PERSON" weightage="20" keywordseo="Vikramjit-Sen">Vikramjit Sen</keyword> as the Chairman, along with six other eminent industry members for the newly formed Digital Media Content Regulatory Council (DMCRC). The Council constitutes prominent personalities from the Media &amp; Entertainment industry and Online Curated Content Providers (OCCPs), with experience in IPR, programming and content creation. The Council includes national award-winning filmmaker Nikkhil Advani; Deepak Dhar, CEO and founder, Banijay Group; prominent artist, filmmaker and writer Ashwiny Iyer Tiwari; and creative writer and innovative director, Tigmanshu Dhulia. The other two members from the OCCPs include Ashok Nambisan, General Counsel, Sony Pictures Pvt. Ltd, and Mihir Rale, Chief Regional Counsel, Star and Disney India. The self-regulatory body which is formed as per the mandate of the Information Technology (Intermediary Guidelines and Digital Media Ethics Code) Rules, 2021 with active consultation amongst the creative industry fraternity is expected to create a credible, robust and practical code for content, with an inclusive and fair governance structure under the experienced chairmanship of Justice (Retd.) Vikramjit Sen. Speaking on the appointment of the committee, K. Madhavan, President, IBF said, “I am delighted that so many experts from the media and entertainment industry have come forward and accepted the invitation of IBDF to be part of the proposed self-regulatory body. I look forward to working with the Council whose mandate is to ensure freedom of expression of the Indian creative industry as well as help the discerning audience of the OTT platforms to have unhindered access to world-class and differentiated content. This is a historical and win-win moment for all the stakeholders i.e. the M&amp;E industry, the policymakers and the subscribers of the OTT platforms.” IBF is being renamed as Indian Broadcasting and Digital Foundation (IBDF), as it expands its purview to cover digital platforms to bring all digital (OTT) players under one roof. This industry-led Self-Regulatory Body (SRB) called Digital Media Content Regulatory Council (DMCRC) for digital OTT platforms is a second-tier mechanism at the appellate level, similar to Broadcast Content Complaint Council (BCCC). About the Council members: Justice Vikramajit Sen: A Graduate from St. Stephen’s College with Honours in History. He has practiced in all the Courts in Delhi, although primarily in the High Court of Delhi. He handled civil, arbitration and commercial disputes. He had a special interest and consultancy on minority rights. He was a core member of the Inter Denomination Committee for recommendations for Amendments to the Personal Laws relating to Christians in India. He was appointed as an Additional Judge of the Delhi High Court on 7th July 1999 and a permanent Judge on 30th October 2000. He was also a member of the Malta Judicial Conference under the auspices of the Hague Convention. As a Member of the Planning Committee of the Common Law – Commonwealth Conference, 2009 he attended the Conference in Hyderabad in February 2011. He is the first and continuing Chairperson of Delhi High Court Arbitration Centre. He was elevated to the Supreme Court of India on 24 December 2012. Retired on 30 December 2015. In 2017, Justice Sen was appointed as the Chairman of the Broadcast Content Complaints Council (BCCC), which is a self-regulatory body for the non-news and current affairs television channels in India. Nikkhil Advani: A National Award-winning filmmaker with a film career spanning 20 years. Nikkhil’s film “Delhi Safari” was India’s first stereoscopic 3-D Animation Feature. It advocated for wildlife conservation and is currently being developed into a full-fledged franchise in Hollywood. He began assisting art-house film directors, Saeed Mirza, Kundan Shah, and Sudhir Mishra and his very first outing as a co-screenplay writer for ‘Iss Raat Ki Subah Nahin’ was critically appreciated. Deepak Dhar: He is credited with being the key driving force behind content production in India. Paris-headquartered content powerhouse Banijay Group has set up its office for India and Southeast Asia in partnership with Deepak Dhar, former Endemol India managing director. Deepak started his journey in the broadcasting industry in 1996. He was listed in the Economic Times Spencer Stuart ‘India’s Hottest 40 under 40 Business Leaders’ in 2015 and recognized as one of the ‘Most Promising Leaders of Asia in 2016’ at The Economic Times Asian Business Leaders Conclave for Demonstrating Exemplary Leadership Qualities, throughout his career. Ashwiny Iyer Tiwari: She is an Artist, Filmmaker and Writer. A gold medallist in Commercial Arts from Sophia Polytechnic, Mumbai, she spent over a decade in the advertising world telling stories for the biggest brands in India and Southeast Asia. She has won several advertising ‘craft’ awards across the world for her layered ideas and in-depth understanding of human psychology at the grassroots level. She has directed the critically acclaimed, award-winning short film ‘What’s for Breakfast?’ ‘Brothers’ and ‘Ghar ki Murgi’ (Taken for Granted). In 2020, Ashwiny was selected by Forbes as “A self-made woman of India”. Tigmanshu Dhulia: He is a creative writer and innovative director, who is known for his meaningful, award-winning and heart-winning movies. He is the creator of timeless movies/TV shows like Bandit Queen, Bombay Blues, Paan Singh Tomar, Hasil, Charas, Just Mohabbat, etc. He has countless top-grossing, critically acclaimed, and brilliantly directed movies to his credit, as a writer and producer. Post graduated in acting, he completed his Master's Degree in Theatre in 1989. Ashok Nambissan: Ashok is responsible for overseeing the Corporate Relations, Legal &amp; Regulatory Affairs and the Standards &amp; Practices functions supporting SPN’s businesses in India and abroad. He also serves as the Company’s Ombudsperson. Ashok is a member of the Indian Broadcasting Federation (IBF)’s Legal Affairs Sub-Committee and the Broadcast Content Complaints Council. He also serves on the Broadcast Audience Research Council (BARC) Disciplinary Committee. His areas of expertise include corporate restructuring, Board &amp; investor matters, copyright, property, labour, civil and criminal litigation, regulatory affairs as well as mergers and acquisitions. Prior to joining SPN in 2007, he was Senior Director - Legal &amp; Regional General Counsel with Philips Electronics India Limited in Mumbai, where he held multiple positions, including Head of Legal Affairs for Philips in India and South Asia; Compliance Officer under Philips’ General Business Principles; and member of the India management team from 2003 onwards. Mihir Rale, Chief Regional Counsel, Star and Disney India: He oversees legal and regulatory affairs for Star &amp; Disney India. Mihir has been practicing law for nearly two decades across both contentious and non-contentious issues. Since joining Star India as a Manager in 2009, Mihir has played an instrumental role in the growth of the company. He is now the Chief Regional Counsel for Star and Disney India. Mihir has played a pivotal role in guiding the company and the industry through challenging regulations under an ever-evolving regulatory landscape in India. He began his career with Haresh Jagtiani &amp; Associates as a litigation counsel practicing before the Bombay High Court. Prior to joining Star India, Mihir worked at AZB &amp; Partners, where he practiced both contentious and non-contentious assignments. He holds an LLB and is a Bachelor of Socio-legal Sciences, both from the Indian Law Societies, Law College, and the University of Pune.

The Indian Broadcasting Foundation appoints Former Justice Vikramjit Sen as the Chairman

<ul><li>The pandemic and the ensuing lockdown has changed our lives, perhaps forever. It has brought about many behavioural changes among consumers. While some were temporary, there are many that will perhaps become permanent.</li><li>People discovered the many conveniences of <keyword id="1245953" type="General" weightage="20" keywordseo="ott" source="Orion">OTT</keyword> platforms during the last 2 years and the sector is only expected to grow from here.</li><li>Baskar Subramanian, Co-founder and CEO, <keyword id="751982" type="General" weightage="20" keywordseo="Amagi" source="Orion">Amagi</keyword> writes why OTT is getting consumer love and why the streaming media is here to stay. </li></ul>The pandemic and the subsequent lockdowns completely transformed our entertainment experience. From 'Let's go for a good movie', we moved to 'What should we watch on <keyword id="128682" type="General" weightage="20" keywordseo="netflix" source="Orion">Netflix</keyword>?'. Movie premiers and live sporting events like IPL and others have moved to OTT. For example, Netflix released the Kangana Ranaut starrer Thalaivi and Zee5 released Bob Biswas starring Amitabh Bachchan exclusively on OTT platforms. Homegrown web series like The Family Man, Sacred Games, Aarya, Special Ops, Aashram, Mirzapur and more undoubtedly elevated the popularity of OTT platforms among the tech-savvy millennials and Gen Z population who had embraced OTT over Cable TV or DTH subscriptions even before the onset of the pandemic. Post the pandemic, however, the trend has only increased, fuelled by the many conveniences that OTT offers over traditional broadcast. With streaming TV, the fight for the remote is laid to rest. Every person in a household can watch their favorite shows on their personal devices. Content can be viewed even while travelling, and consumers are spoilt for choice with languages, content variety, and on-demand viewing. Consumers have made their preferences clear - more people are cutting the cord, shifting from paid TV subscriptions to internet-based streaming services. Boston Consulting Group predicts that the OTT content market is at an inflection point in India and is likely to reach a market size of $5 billion by 2023. From just two OTT platform providers in 2012 to about 40 players at present, the OTT revolution has come a long way in India. Estimates from Phando Corp suggest that monthly active users (MAUs) for India’s OTT video sector have grown at a blistering rate of 300% since 2019 to reach 680 million in 2021, with rural and tier 2 &amp; 3 cities consumption reaching an 80% share. West Versus India Several factors including the widespread availability of broadband infrastructure, the ubiquity of mobile phones and other connected portable devices, and quest for personalised experiences have spurred the adoption of OTT consumption in the Western world. At the same time, technology investments, the emergence of new apps, features, and independent platforms for OTT content have also been growth drivers. Tech companies such as Amazon, Facebook, Apple, YouTube, connected device providers such as Samsung, Xiaomi, LG, and studios such Disney, MGM, Paramount, Sony are among the major corporations who have entered the OTT space, giving a plethora of programming choices to the consumers in the West. The growth in OTT platforms combined with the subsequent content boom has seen vernacular content from different regions gaining international popularity. South Korean dystopian drama broke all records by becoming the most watched content on Netflix by netizens around the world. Similarly, Indian dramas such as Sacred Games and Delhi Crime were viewed and enjoyed by a global audience. As a result, all eyes are now firmly set on opportunities in emerging economies, specifically in the Indian subcontinent, with major players from the west entering the foray with attractive subscription offers, and diverse content catalogues. Some have chosen to collaborate with or acquire local brands to establish a firmer foothold in the region. For example, with the launch of Disney Plus in the US back in 2019, the streaming service promptly expanded to many other countries, including India. However, instead of getting a dedicated app for Indian users, the company acquired the Hotstar streaming platform and soon rebranded to Disney+ Hotstar. The coming together of Disney and Star TV Network (20th Century Fox) attracted tens of millions of subscribers in India and provided them access to a premium catalogue of content from Disney and Star TV. One of the challenges in India is the ability to monetize online content. Research suggests that the Advertising-led Video on Demand (AVOD) model is far more popular than Subscription-led video on demand (SVOD) models given the reluctance of viewers in India to pay for online content. While about 60% of total video viewing in India happens on YouTube, Netflix has 40 Mn monthly active users. Disney Plus Hotstar too has reached the critical mass with its freemium model, well-supported by relevant collaborations, such as sports (read cricket), which drives volume. Also, a KPMG study reveals that, unlike the West, only 10% of viewers access OTT platforms for watching original content. Rather, OTT is used primarily for the convenience of anytime and personal viewing of movies, music, sports or to catch-up with TV content. Driving OTT Growth in India As a country with a population of 1.23 billion, India is the next big market for OTT platforms. Some of the growth drivers for OTT players in India, based on the precedent from the West include: ● Investments in Content Video streaming services are expected to spend around ₹1,920 crore to create original content for India in 2021, driven in part by the sharp rise in audiences during the 2020 lockdown. The platforms will further increase spends, including on sports, to ₹30,000 crore, during 2021-25, according to the latest FICCI-EY media and entertainment industry report. Around 500 original titles are likely to be released in 2021 across platforms, as opposed to 385 titles in 2019 and 220 in 2020. The investment in original content makes sense given that viewers are learning to pay for the content they consume, especially original content. In 2020, 29 million subscribers paid for 53 million OTT video subscriptions (not counting subscriptions bundled along with data plans), a figure that is estimated to increase to 39 million subscribers for 71 million subscriptions in 2021. Netflix has more than 40 originals scheduled for 2021 and is expanding its slate by nearly three times compared to 2020. Amazon Prime Video has 50 local originals in various stages of development and 30 in various stages of production. Demand for original content will likely double by 2023 compared to 2019 levels. ● Content – the New Battlefield for Viewers Increasing number of consumers from tier-2 and tier-3 cities have spurred the production of regional content. Alt Balaji has seen a change after the pandemic. Before the pandemic, the top 8 cities in India contributed to 70% of their total audience; post-April 2020, 60% of the traffic is from other tier-2 and tier-3 cities. Old favourite shows are being re-aired on OTT platforms, while investments in new content production continue. Recently Amazon announced the acquisition of MGM, for $8.45 billion, giving it access to MGM’s library of 4000 film titles and 17,000 TV shows. We have witnessed the emergence of a wide variety of content including Indian content since India has a diverse market with over a dozen languages that are widely spoken across the country. OTT players are shifting their focus towards localisation of their platforms, to be able to connect with the Indian users, be it in terms of regional languages, geography and user experience etc. India already has about 40 OTT players and 10 music streaming apps in existence catering to various entertainment and media demands. This has opened the doors for OTT platforms to promote regional and hyperlocal content. In fact, a leading OTT player recently released 11 shows during the lockdown- all locally curated shows. The share of regional language consumption on OTT platforms is expected to cross 50% of total time spent by 2025, easing past Hindi at 45%. ● Government Regulations The Ministry of Information and Broadcasting (MIB) has, in the past year, stressed the need for some form of regulation of OTT Platforms to streamline the sector. In this regard, the MIB recently notified the Information Technology (Guidelines for Intermediaries and Digital Media Ethics Code) Rules 2021. The new rules require OTT platforms to set up a robust three-tier grievance redressal mechanism. The first level will comprise regulation by the OTT Platform itself through a grievance officer. The second level will be an institutional self-regulatory body formed by publishers of content and their associations. This self-regulatory body will comprise industry experts headed by a retired Supreme Court/ High Court judge /eminent personality in the relevant field. At the third level is an inter-department committee constituted by the MIB that will provide oversight and hear appeals for decisions taken at level two or if a complaint is referred to the inter-department committee by MIB. Regulation might help improve the quality of content in the future. ● The Future of OTT - New Applications and Content Innovations There is no doubt that the future of <keyword id="6357922" type="General" weightage="20" keywordseo="television" source="Orion">television</keyword> is OTT, and the industry is at a nascent stage. Content is the force that defines the direction of evolution in the industry. New applications such as learning, education and fitness are being explored. Pricewaterhouse Coopers reported that in 2018, more than 40% of new internet users in the world were children. Edtech platforms like Byjus and Unacademy use the OTT streaming approach for education. Similarly, possible applications for learning management in corporations are being explored. While fitness was never considered an activity that could be done remotely, the pandemic saw this notion change. According to a Bobble.AI report, besides video conferencing apps and websites, fitness applications such as Lose Weight, Cure.fit, recorded a 104.53% rise in daily active users. Video streaming platforms are also creating content to cater to this trend. Disney+ Hotstar has partnered with Brilliant Wellness, to introduce content from its fitness experts, yoga, and spiritual gurus. -- India’s large population and relatively young age demographics make the business environment dynamic and interesting. Digital savvy young consumers in India are spread over a wide geography and have a vast range of preferences, languages and appreciate multi-cultural entertainment. As content and technology come together to create a solution that caters to this unique business environment, OTT and streaming media are here to stay.

How India is ‘Cutting the Cord’ to drive an OTT revolution

<ul><li>From buying groceries to ordering a paracetamol, the lockdown forced the entire nation to avail digital services. </li><li>It has opened up an opportunity for Over-the-Top (OTT) platforms to rise to the situation and curate a seamless streaming experience for their consumers as they are quarantined 24x7.</li><li>Shashank Singh, CEO &amp; Founder, <keyword id="9574458" type="COMPANY" weightage="20" keywordseo="flyx">FLYX</keyword> writes how innovation in storyline is the key factor that is fuelling the growth of OTT platforms and why OTT needs to be censorship-free. </li></ul>Times are tough for businesses across industries, including the entertainment industry. Though theatres have been opened with limited capacity, the unprecedented growth and breakthrough of OTT platforms have been undeniably unparalleled. Even though the charm of cinemas and going to a theatre can never be replaced by streaming platforms, it is interesting to acknowledge and recognize how far we have come along in our content-viewing journey. During the past few months of the global pandemic, people staying at home around the world have turned to various streaming services for entertainment. The once advocated hypothesis that there are not enough hours in the day to consume content has changed, and streaming services worldwide are seeing a<a href="https://www.theverge.com/2020/3/27/21195358/streaming-netflix-disney-hbo-now-youtube-twitch-amazon-prime-video-coronavirus-broadband-network"> huge spike in traffic.</a> According to a report by ACT Fibernet called ‘State of Internet Traffic Trend’, India saw a staggering 55% hike in overall streaming traffic during the lockdown1. Various industry reports throw light on the popularity of homegrown OTT platforms. Indian player Disney+Hotstar has the most number of subscribers, followed by Amazon Prime Video and Netflix. This is mainly due to the local language content available on Disney+Hotstar that appeals to the majority of Indians.2 According to a recent PwC report, India is currently the world’s fastest growing OTT (over-the-top streaming) market, and is all set to emerge as the world’s sixth-largest by 2024. The market is expected to grow at a CAGR of 28.6% over the next four years to touch revenues of $2.9 billion. With covid-19 pandemic resulting in a seven-month shutdown of movie theatres, several producers have taken their films directly to digital platforms which has seen OTT platforms gaining at the expense of cinemas. In 2018, SVoD revenues were a third of India’s total box office revenue but the shift of eyeballs to digital platforms in the medium to long term will ensure India’s movie box office falls by 2.6% over the next four years as SVoD grows by 30.7%. Using technology to gain competitive edge Content is one of the most important factors that makes people subscribe to a streaming video service, but another equally important factor is the ease of use. This is where technology comes into play. Deloitte in its recent <a href="https://www2.deloitte.com/us/en/insights/industry/technology/digital-media-trends-consumption-habits-survey.html">digital trends survey</a> found that streaming during Covid-19 compared to the pre-pandemic market is not so much ‘before and after’ as it is ‘before and faster’. People are signing up for services quickly and are leaving services even faster. With almost every streaming service offering free trials, consumers are lapping up the trials. However, the real test in retention will come down to technology. Streaming providers have to create a seamless experience for content viewing, and it starts with content discovery. Leaders in this market should look to invest more in technology by offering a great search experience. This means not only making it fast, but also very personalized. Providers will have to leverage artificial intelligence and machine learning to understand the consumer’s intent and offer the right content at the right time. Streaming Content and Censorship With so much content being produced and added to streaming platforms every day, there has been a growing issue about content censorship across the world. Platforms such as Netflix and Amazon, among others, are receiving <a href="https://www.vice.com/en_in/article/a35jna/netflix-and-amazon-may-have-to-censor-explicit-content-in-india-soon">content removal notices</a> from various governments and authorities. Recently, the debate about regulation and censorship is heating up in India. Patal Lok on Netflix in India has been surrounded by controversy because of violence, sexual content and portrayal of the hypocrisy of upper caste men. Rasbhari too has created a furore because of its sexual content. While currently there is no censorship of OTT platforms, this is likely to change in the future. The Information and Broadcast Ministry of India is proposing that OTT platforms fall under its purview so that they can be regulated just as other media such as TV, radio, films, etc.4 The Future Path Innovation in storyline is the key factor that is fuelling the growth of OTT platforms, and it is currently free from any regulation or censorship before it hits your favourite device. Censorship kills creativity, and this can be easily seen by how good the content of new streaming shows is versus content released in theatres. Streaming content should ideally follow the food industry model, meaning series/ movies should have full disclosures about its contents and allow the consumer to decide if they want to purchase or watch it. Currently, all major <keyword id="10213289" type="UNKNOWN" weightage="20" keywordseo="streaming-players">streaming players</keyword> are following their own standards. What we need is a regulatory body that standardizes these disclosures and uses technology to audit for compliance, without censoring any content. Here again, artificial intelligence and machine learning could play a big role in automatically classifying the content and generating full disclosures. The next decade in streaming will be very exciting and also very challenging. Winners will not only be decided by who has the best content but also who has the most advanced technology to make the service more intelligent and super easy to use. Ultimately, the streaming wars will empower consumers and revolutionize how they consume media.

OTT: Technology, censorship and the future

<ul><li>The Indian government’s new IT rules for over-the-top (OTT) platforms ask for a three-tier grievance system and content classification.</li><li>While this may create a forum where users can air their complaints, it could also result in an uptake of content related disputes in India.</li><li>The likes of <keyword id="2739840" type="PERSON" weightage="20" keywordseo="Hotstar">Hotstar</keyword>, <keyword id="128682" type="COMPANY" weightage="20" keywordseo="Netflix">Netflix</keyword>, <keyword id="2976376" type="PERSON" weightage="20" keywordseo="Amazon-Prime-Video">Amazon Prime Video</keyword> and others will have to steer around India’s diverse sensibilities, cultures and beliefs.</li></ul>Until now content on OTT platforms such as Netflix, Amazon Prime Video, Hotstar and others were <a href="https://www.businessinsider.in/policy/news/self-regulation-code-adopted-by-disney-hotstar-amazon-prime-and-other-ott-platforms-what-is-this-code/articleshow/78009955.cms">largely unregulated</a>, allowing them to cater to varied sensibilities. However, content on OTT platforms has also <a href="https://www.businessinsider.in/entertainment/news/tandav-controversy-fir-filed-against-the-shows-director-and-amazon-india-head-of-content-in-up/articleshow/80329036.cms">courted controversy</a> time and again. Significant compliances have been introduced for OTT platforms such as certification of films and web-series, and parental locks. A 3-tier grievance redressal mechanism has been prescribed for OTT platforms as well as news portals. This might eventually lead to a substantial increase in content related disputes in India. The three levels of addressing complaints OTT platforms and news portals will have to formulate a robust three-tier grievance redressal mechanism. The rules provide for two levels of self regulation. First, self-regulation by the platform through a grievance redressal officer and, second, by an institutional self-regulatory body comprising industry experts and headed by a retired Supreme Court or High Court judge or other independent eminent personality in the relevant field. This is followed by the third level of oversight through an interdepartmental committee constituted by the government. This committee will hear appeals arising out of decisions taken at level two, and if a complaint is referred to the committee by the <a href="https://www.businessinsider.in/tech/news/ott-platforms-hotstar-netflix-and-even-news-content-providers-will-now-be-regulated-by-the-ib-ministry/articleshow/79166864.cms">Ministry of Information and Broadcast</a> (MIB). The maze of India's many moods While an institutional self-regulation mechanism may enable citizens to have their concerns heard through a formal process within definite time frames; the oversight mechanism by the government certainly tightens the government’s grip on the overall operations of OTT platforms. A big challenge for OTT platforms, while dealing with complaints, will be to steer around diverse sensibilities, cultures and beliefs of the Indian audience and their <a href="https://www.businessinsider.in/netflix-is-pushing-back-against-a-legal-petition-seeking-the-removal-of-an-unflattering-reference-to-an-assassinated-indian-prime-minister-in-sacred-games-its-first-indian-original-series/articleshow/65327640.cms">demands for different genres of content. </a> It is also essential to not overlook the fact that content curation of OTT players offer ‘video-on-demand’ services, and curate content based on demands of viewers, often analysed basis viewership data and trends. While a certain type of content is perceived as offensive by a certain section of public, it is popular amongst another. It is unclear as to how OTT platforms are expected to practically redress grievances from different users. Content Classification OTT platforms are required to classify all films, web- series or other shows, based on: <ul><li>age of viewers themes and messages</li><li>violence, nudity, sex, language, substance abuse, horror, content, tone and impact target audience</li><li>implement parental controls</li></ul><a href="https://www.businessinsider.in/policy/news/netflix-amazon-disney-hotstar-will-now-have-to-classify-their-content-according-to-age-in-india/articleshow/81209677.cms">Ratings under the Rules</a> – U/A, U/A 7+, U/A 13+, U/A 16+ are similar to the age sensitive categorisations proposed by IAMAI (Internet and Mobile Association of India) under its self - regulatory code issued last year. *Tanu Banerjee is a partner, Ishan Johri is a senior associate and Garima Kedia is an associate at law firm Khaitan &amp; Co. Views expressed here are personal. SEE ALSO: <a href="https://www.businessinsider.in/tech/apps/news/whatsapp-signal-and-telegram-face-a-catch-22-situation-as-indias-new-social-media-rules-threaten-encryption/articleshow/81221070.cms">Whatsapp, Signal and Telegram face a catch-22 situation as India’s new social media rules threaten encryption</a> <a href="https://www.businessinsider.in/tech/news/facebook-and-twitter-have-a-ton-of-new-rules-to-abide-by-in-india-whatsapp-may-find-itself-in-the-toughest-spot-of-all/articleshow/81208643.cms">Facebook and Twitter have a ton of new rules to abide by in India ⁠— WhatsApp may find itself in the toughest spot of all</a> <a href="https://www.businessinsider.in/india/news/indian-government-assumes-the-right-to-block-digital-news-content-along-with-a-new-set-of-regulations/articleshow/81209053.cms">Indian government assumes the right to block digital news content along with a new set of regulations</a>

You Searched For "information and broadcast ministry ott regulations" and got 11 results

Unanswered questions as regulation of OTT platforms and digital news providers moves from one government department to another

Prabhjote Gill

Following the Tandav controversy, government to start regulating OTT content

BI India Partner

Now, OTT platforms must display anti-tobacco warnings onscreen

PTI

The likes of Hotstar, Netflix and even news content providers will now be regulated by the I&B Ministry, contrary to what the platforms would like

Prabhjote Gill

India’s information and broadcasting ministry is discarding an important clause on paid news from its new press regulations bill

Dilsher Dhillon

Ministry of Information and Broadcast to bring e-papers and digital news under its purview

BI India Partner

OPINION: Regulating digital news is important but freedom of press is precious

Tanu

Ishan

The Indian Broadcasting Foundation appoints Former Justice Vikramjit Sen as the Chairman

BI India Partner

How India is ‘Cutting the Cord’ to drive an OTT revolution

Guest Author

OTT: Technology, censorship and the future

Guest Author

India’s new rules for OTT platforms could lead an increase in content-related disputes

Tanu

Ishan

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