Media Entertainment & Art Community

The Telecom Regulatory Authority of India (TRAI) has recommended that private FM radio operators should be permitted to broadcast news and current affairs programs for a duration of 10 minutes every hour. In its suggestions regarding ‘FM Radio Broadcasting Issues,’ TRAI also proposed applying the program code of conduct, which currently applies to All India Radio, to private FM radio channels. TRAI stated, “Private FM Radio Operators should have the opportunity to air news and current affairs content, limited to 10 minutes within each hour.” Furthermore, TRAI emphasized that FM radio features on mobile devices should remain active without any deactivation or disablement. They also suggested that the annual license fee for FM radio channels should no longer be tied to the Non-Refundable One Time Entry Fee (NOTEF) and instead be calculated as four percent of the Gross Revenue (GR) generated by the FM radio channel in the respective financial year. TRAI recommended excluding GST from the GR, and it urged the government to take necessary measures to assist FM radio operators in addressing the challenges posed by the COVID-19 pandemic.

Amidst the challenges posed by the Covid-19 pandemic, a notable decline in film certifications has been observed. The Central Board of Film Certification (CBFC) reported a decrease from the usual count of around 20,000 films per year to a mere 8,299 during the pandemic-ridden year of 2020-21. This is in stark contrast to the peak of 22,570 certifications granted in the year 2018-19, prior to the pandemic’s impact. During this pandemic-hit phase, the CBFC had a significant role to play. Approximately 17.77 percent of the films submitted for certification during 2020-21 required modifications or edits, as advised by the CBFC. In normal circumstances, the CBFC typically covers a wide spectrum of films including Indian and foreign features of both short and long lengths, issuing certifications across various categories. The recent insights were shared with the Parliamentary Standing Committee on Communications and Information Technology, which assessed the performance of the CBFC. Over the past years, there has been a fluctuating pattern in the number of certified films: 22,570 in 2018-19, 20,593 in 2019-20, 8,299 in the pandemic year 2020-21, and a recovery to 12,719 in 2021-22. The year 2022-23 displayed a sign of the film industry’s resurgence, with CBFC certifying 18,070 films. This hints at the gradual bounce-back from the pandemic’s impact on film production and certification. The decline in certification numbers was attributed to the pandemic by the Ministry, a reason highlighted in the report presented during the recent monsoon session of the Parliament. Throughout these years, filmmakers have often been directed to make necessary changes before being granted certification. In 2019-20, 13.52 percent of the films (2,785 out of 20,593) required alterations as per CBFC’s suggestions. This trend continued into the following years. In 2020-21, 17.77 percent of the 8,299 films certified underwent modifications, while in 2021-22, the number stood at 15.02 percent of the 12,719 films certified. The period between April 1 and September 30, 2022, showcased a total of 9,484 films certified by CBFC in 2022-23. Out of these, 11.13 percent (1,056 films) were advised to undergo alterations before receiving certification, reinforcing the CBFC’s role in ensuring film content aligns with appropriate standards.

The Editors Guild of India has expressed deep apprehension regarding certain “stringent authorities” granted by the Press and Registration of Periodicals Bill. These authorities empower the government to conduct more invasive and arbitrary oversight into the operations of newspapers and magazines. In an official statement, the Guild has called for the Press and Registration of Periodicals (PRP) Bill, intended to replace the Press and Registration of Books Act of 1867, to be submitted to a Parliamentary Select Committee. The Guild has cited concerns over the increased powers of the Press Registrar, new limitations on citizens’ ability to publish periodicals, the continuation of authority to enter news publication premises, the ambiguity present in many provisions, and the potential negative implications on press freedom arising from the authority to establish rules. The Guild has communicated its worries about the Bill to Prime Minister Narendra Modi, Lok Sabha Speaker Om Birla, Rajya Sabha Chairman Jagdeep Dhankhar, political party leaders, and Information and Broadcasting Minister Anurag Thakur. Given the broad and discretionary utilization of laws like the Unlawful Activities (Prevention) Act (UAPA) – which defines terms like “terrorist act” and “unlawful activity” – as well as other criminal statutes like sedition against journalists and media entities to stifle freedom of speech, the Guild finds the introduction of these new provisions disconcerting. It is concerned that such provisions could be misused to hinder the right to publish news publications for individuals critical of governing bodies. The Guild asserts that solely the Press Registrar should possess relevant authority for the purpose of this Act, and no other government entity should be endowed with any powers pertaining to periodical registration. Emphasizing that the legal framework should be more respectful of press freedom and should refrain from granting extensive powers to regulatory bodies to arbitrarily interfere with or shut down the press, the Guild underscores that the primary focus of the Registrar and the PRP should remain on “registration” rather than “regulation”. The PRP Bill was introduced in the Rajya Sabha on August 1 and was passed two days later.

Greta Gerwig’s directorial masterpiece, “Barbie,” has become a groundbreaking phenomenon, shattering records and crossing the remarkable $1 billion mark in global box office ticket sales. This achievement makes it the highest-grossing film ever directed by a woman. The fantasy-comedy movie collected an impressive $459 million from theaters in the United States and Canada, along with a staggering $572.1 million from overseas markets, totaling $1.0315 billion according to Warner Bros. Pictures. Greta Gerwig herself made history as the first female filmmaker to individually reach this billion-dollar milestone. The film’s weekend performance was outstanding, adding $127 million worldwide, with $53 million domestically and $74 million internationally. The movie’s success has left distribution chiefs astonished, surpassing even their most optimistic predictions. In the contemporary box office landscape, only 53 films have surpassed $1 billion in ticket sales, excluding inflation. “Barbie” now stands as the highest-grossing movie ever directed by a woman, outdoing “Wonder Woman” with its $821.8 million global total. While three co-directed films, including “Frozen” and “Frozen 2” by Jennifer Lee and “Captain Marvel” by Anna Boden, are still ahead in terms of total earnings, “Barbie” has secured the top spot in North America for live-action films directed by women, overtaking “Captain Marvel.” The movie’s triumph marks a significant milestone for women in Hollywood, and Greta Gerwig joins an exclusive list of only five female directors who have achieved this extraordinary feat. Moreover, “Barbie” holds the distinction of being the first live-action comedy to cross the $1 billion mark. The success of “Barbie” not only signifies the power of female directors but also highlights the enduring influence of the iconic Barbie brand. The film has tapped into both nostalgia for the Mattel doll and captivated a new generation of fans. This achievement is undoubtedly a major win for Warner Bros. Pictures and is bound to leave a lasting impact on the film industry, showcasing the potential and appeal of female-led productions. “Barbie” is a groundbreaking cultural milestone, celebrating the strides made by women in the film world while reaffirming the enduring popularity of the beloved Barbie franchise.