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- W2023558647 abstract "(ProQuest: ... denotes non-US-ASCII text omitted.)Since roughly 2005, a curious sponsorship spot featuring a cartoon maid has aired on India's Channel V, a satellite music-television station. Intended to appeal to the relatively affluent, youthful target audience for the channel's Hinglish (Hindi peppered with English) programming, the spot involves a caricature of an old woman, sari skirt tucked through her legs, sweeping the edges of an animated frame within which run commercials for Indian and international commodities such as Gamier Fructis hair products, Lay's potato chips, Reliance mobile phones, and the like. White lettering at the top of the frame reads, Brought to you Bal..., a pun playing on bai, a Hindi word for maid, and the cliched phrase of international advertising lingo.The Brought to you Bal spots neatly encapsulate the neoliberal logic that increasingly animates and is promulgated by Indian television. This logic differs markedly from the ideology that motivated the development of the mass medium and informed its official mission prior to the loosening of restrictions on global capital and media content and the influx of transnational satellite television providers in the early 1990s. Before this era of liberalization, the Indian economy was tightly regulated and tied to planning goals set by the central government. As part of its postcolonial nation-building project, the government launched the television channel Doordarshan, tasked with unifying, educating, and modernizing the audience-as-citizenry. State-controlled Doordarshan was the sole provider of Indian television until the satellite revolution.This era of television was complex, just as I argue below that the post-liberalization era has been, and Doordarshan did not keep strictly to its social mission. It aired educational content including developmental soap operas that particularly targeted women with messages concerning topics such as family planning and the education of daughters; however, it also aired entertainment, propaganda, and, famously, Hindu mythological epics, as well as, increasingly, sponsors' messages (see Das 1995, N. Gupta 1998, Kumar 2006, Mankekar 1999, Page and Crawley 2001, Rajadhyaksha 1990, Rajagopal 2001a, Singhal and Rogers 1988). Nevertheless, throughout the so-called era prior to liberalization, the channel remained fairly consistent in attempting to address a broad audience conceived of as more-or-less coterminous with the nation. In 1991, a foreign exchange crisis resulted in a bailout by the IMF and other international aid agencies, which required broad measures of economic reform and liberalization as conditions of the aid. With liberalization, the government's monopoly on Indian television, as well as its hold on the market, was broken. Transnational satellite television channels began to proliferate, at first simply broadcasting imported English-language programming. By the mid-1990s, this precipitated the development of a rapidly expanding local content production industry headquartered in Mumbai. Now, roughly two decades later, satellite television programming has surpassed Doordarshan in viewership, and television has become the most profitable of India's media businesses (Kohli-Khandekar 2010:55). From 1982 to 2008, the number of channels available to Indian viewers increased from one to 388 (2010:64). Viewers now have access to a wide array of programming from niche English language content to Hindi language general entertainment shows, as well as content in regional languages. Music television, saas-bahu (mother-in-law/daughter-in-law) joint-family melo-dramas, reality television, religious, youth, and lifestyle programming, among other genres, vie for viewers' attention while advertising vies for their wallets. Satellite television does not, as Doordarshan was intended to, hail its broad audience as a national citizenry. Instead, it addresses the audience as consumers fragmented into increasingly narrowly defined market segments. …" @default.
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- W2023558647 date "2014-01-01" @default.
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- W2023558647 title "“My Maid Watches It”: Key Symbols and Ambivalent Sentiments in the Production of Television Programming in India" @default.
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- W2023558647 doi "https://doi.org/10.1353/anq.2014.0056" @default.
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