M Com.

Sem III

1. INTRODUCTION OF ENTERTAINMENT INDUSTRY

The media and entertainment industry in India consists of many different

segments under its folds such as television, print, and films. It also includes
smaller segments like radio, music, OOH, animation, gaming and visual effects
(VFX) and Internet advertising. Entertainment industry in India has registered an
explosive growth in last two decades making it one of the fastest growing
industries in India. From a single state owned channel, Doordarshan in the 1990s
there are more than 400 active channels in the country. Worldwide, 2010 saw the
global economy begin to recover from a steep decline in 2009. Improved
economic conditions in 2010 played a major role in a rebound in customer
spend. Since the world economy begin to recover from the global financial crisis
of 2008, improved economic conditions played a major role in rebound in
consumer spend. While India was not critically impacted by the downturn in
2008 and 2009, it demonstrated one of the highest growth rates this year and
continued to at a healthy pace. The rising rate of investments by the private sector
and foreign media and entertainment (M&E) majors have improved India's
entertainment infrastructure to a great extent. As per the recent report by
PricewaterhouseCoopers (PwC), Indians are likely to spend more on
entertainment in the coming years with a steady growth in their disposable
income. And as per the combined survey report by KMPG and FICCI, the
entertainment industry in India is expected to expand by 12.5% every year and is
likely to reach US$20.09 billion by the year 2013. The industry pegged at INR
5808 billion in 2009 as compared to INR 3565 billion in 2005. The Indian Media
& Entertainment Industry grew from US$12.9 billion in 2009 to US$14.4 billion
in 2010, a growth of 11 per cent, according to a report by the Federation of
Indian Chambers of Commerce and Industry (FICCI) and research firm KPMG.
As the industry braces for exciting times ahead, the sector is projected to grow at
a CAGR of 14% to reach US$28.1 billion by 2015.

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1.1 Objectives of Entertainment Industry

 To promote, develop and stimulate the growth of the Media and

Entertainment Industry for the achievement of international co-
operation, peace and prosperity.

 To hold festivals, conferences, seminars, master-classes, workshops and events

regularly in order to provide an opportunity to the people to get exposed to the
cultures of various countries of theworld.

 To collect and make public the authentic data related to

Circulation/TRP/Box-Office figures of the Media and Entertainment
Industry and to use such data to conduct research for the development
and growth of the Media and the Entertainment Industry across the
world.

 To define the rights of the members of the Media and Entertainment

Industry and to continuously strive to protect and defend those rights.

 To provide the members of the Media and Entertainment industry a

place where they can meet, discuss and exchange ideas related to the
industry and their role withinthe industry.

 To establish and maintain a pool of knowledge comprising of website,

library of books/DVDs and a museum to preserve such articles,
documents and properties related to Media and Entertainment Industry
that need to be preserved and to use such pool of knowledge and
museum for the up gradation of the training of the new members of the
Media and Entertainment Industry across the world.

 To ensure that the Government lays down the right policies and passes
the right legislations to provide the latest infrastructure, financial
assistance and business facilities to Media and Entertainment Industry
in India and other countries of the world.

 To sell, develop exchange, lease, let, sub-let, mortgage, dispose off or

otherwise deal with all or any part of the property of the Chamber for
the fulfilment of the aims and objectives of the Chamber.

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 To oversee and protect the commercial interest of the members of the

Media and Entertainment Industry in India as well as other countries of
the world and to relentlessly work for their welfare in every possible
manner.

1.2 Characteristics of Entertainment Industry

The Media and Entertainment Industry has the following characteristics:

 Digital Asset Management

 Intellectual property right

Digital Asset Management

Accenture’s fully integrated Digital Asset Management solution enables companies

with rich media—everything from video, music, photos and images to film and audio
clips—to create, manage, archive and re-purpose assets through multiple channels to
drive new revenue streams and realize operational efficiencies.

The solution involves workflow re-design, enterprise software and technological

support for multiple video and audio formats.

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Entertainment studios, broadcasters and post-production houses can use the Digital
Asset Management solution and benefit from the ability to:

 Preserve and re-use digital assets for future use.

 Facilitate centralized access to content across the enterprise.

 Improve workflow.

 Minimize time-to-market.

 Enhance business decisions

 Identify and leverage new business models.

Among the revenue-generating benefits that the solution can bring to organizations
are enhanced merchandising and licensing opportunities, new markets for existing
digital assets, expansion into new digital channels, increased market share and
revenue through shorter production and distribution cycles and improved customer
retention and acquisition.

Intellectual Property Rights

Media and entertainment companies face a growing number of rights and royalty
management issues such as licensing and royalty tracking and residuals payment
processing. The proliferation and complexity of contract variables can make even a
single deal difficult to track and calculate. Effective revenue recognition management
is more necessary than ever in a challenging economy, but is made difficult by the
explosion in the number of licenses, fees and services. Financial management overall
can be excessively time consuming and labor intensive.FADEL IPM Suite simplifies
all aspects of intellectual property management including rights and royalty
management and digital brand assurance. Throughout the entire deal lifecycle, it
allows you to streamline processes and automate workflows to improve contract
management, versioning and the approval process.

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1.3 Contents of Entertainment Industry

 Televisionindustry

 Print industry

 Film industry

 Radio industry

Television Industry

Television is one of the major mass media of India and is a huge industry and
has thousands of programs in all the states of India. Today India boasts of being
the third largest television market in the world. The small screen has produced
numerous celebrities of their own kind some even attaining national fame. TV
soaps are extremely popular with housewives as well as working women.
Approximately half of all Indian households own a television. Television first
came to India in the form of Doordarshan(DD) on Sept 15, 1959. Doordarshan is
the National Television Network of India and also one of the largest broadcasting
organisations in the world. Apart from the state run Doordarshan, there are six
DTH players with54.52 million DTH users in India with the present prediction;
it is likely to overtake the US in terms of the largest DTH market in the world. As
of 2012, the country has a collection of free and subscription services over a
variety of distribution media, through which there are over 823 channels of which
184 are pay channels. Total television viewership of 415 million is amongst the
world’s highest with nearly 15-16 Television companies beaming programmers to
India. The major players being Doordarshan, STAR TV (Satellite Television Asia
Network), Zee Television, United Television, CNN, Sony Television, ATN (Asia
Television Network), BBC World, SUN TV, Discovery Channel, TNT and
Others. India’s television business has an estimated $3.4 billion in revenue in
2005, according to PricewaterhouseCoopers. With the government is focusing
more on Digitalization, TV distribution is taking new shape Digitalisation has been
a major challenge for the government as digitalcable is not gaining momentum.

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According to the new deadline, pan India digitalisation us expected to happen by

December 31, 2014. Another challenge for the Television Industry is Average
Revenue Per User (ARPU). India is amongst the countries with lowest ARPU as
compared to developed countries like US and UK where ARPU is around US$45 to
US$60, India has an ARPU approximately US$3.5.

Print industry
The Indian print media industry is expected to grow by 9.6 per cent over the
period 2010-15. The print industry is expected to grow from Rs 128 bn in 2006 to
Rs 232 bn by 2011, at 12.6% CAGR. While the newspaper industry is estimated
at Rs 112 bn, the magazine segment is valued at Rs 16 bn. The newspaper
industry is also projected to perform well for the next five years growing at a
CAGR of 10.1 per cent according to a report titled "India

Entertainment and Media Outlook 2011" by PricewaterhouseCoopers. Indian

print industry is growing strong and is expected to grow similarly while the
global print industry is moving towards digitalisation and showing a negative
growth rate year on year. Print industry in India is the world's second largest with
over 90 million copies in circulation daily after China with 130 million copies in
circulation daily. Most newspaper has an onlinepresence and a growing view
counts on their portals. Much of the entertainment and media segments are now
focusing on growth in regional areas and smaller towns. Year 2009, a year when
there was a slowdown, the regional print showed growth in local to local
advertisement. In 2010, regional print further increased its share in overall print
advertisement revenue pie. Regional papers give advertisers access to localised
populations and their niche target audience, difficult to do via national broadcast
media. Newspapers have realised value and have gone one step further and have
launched area specific newspapers. With the rise in literacy in past decade has led
to the rise of regional newspapers, they have much greater reach and a large
audience to entertain. Magazines have not been at their best performance in past
few years. However, niche magazine are doing well and is expected to show
positive growth.

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The major challenge faced by this segment of media and entertainment

industry is newsprint which continues to threaten profitability. Newsprint
forms a major component of the cost of publishing a newspaper. It is roughly
40 -50% of the total cost.

Film industry

Films are the most important form of entertainment in India. Film industry in India is
among the largest in the world in terms of films produced (approximately 1000)
in/different languages which include films in Hindi, Kannada, Bengali, Tamil,
Telugu, Punjabi and Malayalam. Approximately twenty- three million Indians go to
see a film every day. Film Federation of India is the apex body of film industry in
India whose objective is to popularise and promote the cinema Bollywood accounts
for 46 percent of the total Indian film industry revenues film industry experts.
According to unofficial estimates available in January 2001, the Indian film industry
has an annual turnover of Rs. 60 billion (approximately US$1.33 billion). It employs
more than 6 million people, most of whom are contract workers as opposed to regular
employees. As at the start of 2001, a reasonable budget film in Hindi could cost
US$1.75 million. A low budget Hindi film can be made for even as low as Rs. 15
million. A big budget Hindi movie can cost in excess of US$30 million. The 'bigness'
of the budget is attributable mainly to the high fees paid to 'stars', celebrated music
directors, high- end technologies and expensive travel costs to shoot in exotic
locations worldwide. At the time of writing, it is believed that 'stars' like Shah Rukh
Khan and Salman Khan are paid around Rs. 100 million (US$440,000) per film. India
has a National Film Development Corporation (NFDC) which finances some films.
A few film makers, who would find it hard to obtain finance from the regular
sources, have been financed by the NFDC. However, NFDC cannot be considered to
play a central role in the film industry because it finances too few films which, too,
are not of the type that has made the Indian film industry so vibrant.

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Radio industry
Radio broadcasting in India started in British India in 1923 with the Radio
Club of Bombay. All India Radio (AIR) was established in 1936 which is one
of the largest radio networks in the world including the AIR FM. AM, FM
and even Satellite Radio have made a huge impact on the Industry in India.
Most of the media houses either already have a presence in the industry or are
looking to get a license in the next round. Famous stations are Radio Mirchi
(of the Times Group) has maintained a lead position in most cities it operates
in and other channels like Radio City, Red FM, Big FM, Fever, Radio One
have also been able to get significant traction. Till 1990 Indian economy was
closed, no private player was allowed to enter and Akashwani has the sole
responsibility to cater to the wide and culturally diverse Indian consumer
base. In the last 5 years, the Radio industry in India has seen a compound
annual growth rate of approximately 20% and has grown to a size of around
Rs. 8.3 billion in 2008. By the end of the 2010, there were 245 active radio
stations in India and had a market size of INR 10 billion. It registered a
cumulative growth rate of 11% from 2007 to 2010. The industry is projected
to grow at a CAGR of 20% over 2010- 2015 and is expected to be INR 25
billion in terms of revenue. Phase III privatisation of the radio FM is expected
to add 839 new radio stations in 294 cities. The government has approved
Foreign Direct Investment (FDI) in FM radio channels to 26% from the
current 20%. One of the major reasons for such an interest in the industry is
the increased profitability. The government has cut the license fees to 1/10th
of the previous amount.

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Customer Relation Management of entertainment industry (CRM)

The following is an extract from the article "It's Showtime!" by Coreen Bailor from
CRM Magazine:
"Just because people love a certain kind of music or enjoy seeing a Broadway
show or can't wait to place their next bet doesn't mean they're guaranteed to come
back to your venue. That's why entertainment companies are now using the same
approach to integrating databases and applications, automating systems to smooth
the self- service process, and employing strategies to strengthen customer loyalty
as are organizations in such industries as banking, telecommunications,
technology, and government. In fact, industry consultants are acknowledging
CRM's potential growth within the entertainment industry. David Wolf, a partner
responsible for the global entertainment practice at CRM consultancy Accenture,
is seeing an uptick in companies' efforts to build their knowledge of customers to
then create more effective marketing campaigns. "As digital technologies emerge
we're noticing more and more solutions that can go directly to a consumer," Wolf
says. "Having capabilities that can do good customer segmentation and drive
down into more targeted marketing, and targeted offerings into that consumer
population, are capabilities that the entertainment companies are actively looking
into.”Here, we open the curtain on three companies within the entertainment
industry to examine how they are using targeted marketing campaigns and
customer-driven strategies to build loyalt.

In the Key of (CRM)

The End Records, a Salt Lake City-based record label and online retailer specializing
in Goth and heavy metal music, started out in 1998 as just another small company,
with only two employees. The label, which boasts bands like Crisis, Epoch of
Unlighted, and Antimatter on its roster, has since grown to have a staff of 11 people.
Both its record-label Web site and its mail order site now receive about 1.5 million
hits a month--thanks in large part to The End's CRM initiative striking the right chord
with customers. For company president Andreas Katsambas, the start-up was more
like a hobby--he even had a day job. But Katsambas wanted to help some groups that
matched his musical taste. In 2001 the company added mail order capabilities,

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supported by Katsambas going into online forums and posting messages to promote
the company. That's when the label picked up its tempo. To handle the growth, The
End Records needed a scalable solution that would streamline its order process. The
company had used systems like Mycart.net and QuickBooks to handle part of its
order process, but the lack of integration caused snags in the process. Every order
that came over Mycart.net had to be downloaded and QuickBooks, and whenever
The End added or removed a product from its line, the change had to be made in both
applications. Worse, credit card processing required that The End's staff manually
enter information at another Web site. The average order took 20 minutes to process.
"We wanted to avoid double data entry," Katsambas says. "When someone would
place an order on the Web site, we had to go and repeat the same order-- duplicate it
in the back-end program as well." With such a time-consuming manual routine,
mistakes were inevitable. "When you have to retype everything, mistakes happen. It
would take twice as long, and as we started getting more and more items it was
becoming difficult to keep an inventory track," he says. "We decided that by
integrating the system, it would make the procedure smoother and avoid the mistakes
of duplicating data entry." After searching for an integrated solution that would meet
the label's requirements, Katsambas selected Net Suite. Now The End's Web store is
fully integrated with Net Suite's accounting and inventory management modules.
Tweaking its order processing system allowed the label's execs to focus less on
internal concerns and more on growth. As a result, the amount of orders processed
has increased to the tune of 100% for each of the past three years. "Now that we don't
have to re-enter information we can process a lot more orders in about half the time,"
Katsambas says, adding that with NetSuite orders are processed in less than one
minute. "If somebody orders from our Web site, our goal is that it should be done
within 24 hours’’ he says. Additionally, with NetSuite customers get emails during
each step of the process, eliminating incoming customer calls regarding order status.
The company sends emails to customers all along the way: as soon as orders are
placed, when they are processed, and when they are shipped (along with a tracking
number). After analysing the emails it received the company determined that its most
frequently asked questions included inquiries on the length of time it takes to receive
orders using the different shipping options, and the prices of merchandise like CDs
and T-shirts. There were five questions that were most frequent; now, the answers to
those five questions are included in the first email customers receive after they place

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an order. Within three months of making the change incoming FAQ emails
plummeted 30%. The End Records is also using Net Suite's tracking feature to
improve responsiveness. This has improved service in several ways. For example, if
one person doesn't know how to answer a query, "we can assign that case to someone
else that's more knowledgeable within that field," Katsambas says. "And if the full-
time person goes on vacation for a week and someone temporarily takes over, they
can at least see all the prior history of any communication that has been going on with
an existing client." With the help of the tracking feature, the label was even able to
avoid being defrauded, Katsambas says. In one case "a person placed five orders and
in all five orders he claimed that he never got the package," he says. "We realized he
is probably a fraud and we stopped sending him the lost orders." With Net Suite, he
says, "everything became a lot more efficient."

As a next step The End Records plans to institute e-marketing campaigns and to
establish commission-based partnerships with record groups, supported by NetSuite's
Partner Center and NetCRM. An integral part of the label's existing marketing
strategy is its e-newsletter, which is sent out every two or three weeks, complete with
updates and special offers. "With a new release that we think can do well, but isn't
well known, we may mesh it with a big release and help both of them," Katsambas
says. The label also supports its sales efforts with targeted inserts included with
purchases. "Because we send so many packages out we always throw in flyers," he
says. "We try and cover our ground, doing it both through the email and when we
send the packages out."

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1.4 Research Methodology

1.4.1 Objectives of Study:-

 To Study about Marketing Strategy of PVR Cinemas.

 To Check the Effectiveness of Marketing Strategy of PVR Cinemas.

 To Suggest the Improvements in marketing Strategies of PVR Cinemas.

 To know what kind of strategy is adopted by PVR Cinemas when a new

Brand comes in a market.
 To understand why people are so addicted to watch movie on PVR Cinemas.

1.4.2 Scope of Study:-

 The Scope of research is very wide as it they know fact that today multiplex
Industry is at the Boom and among those PVR Cinemas is considered as
market leader of that Industry.
 So it is important to know the reasons behind their Popularity and what is the
various marketing strategy they follow.
 The Aim of the Study is to make an analysis of different Marketing
Strategies and their Impact on the masses.

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1.4.3 Data Collection Method:-

There are two sources from which the data has been collected for the
purpose of Study. The Methods are-

 Primary Data

 Secondary Data

Primary Data:-
Primary Data is that type of data which is collected first time and for some specific
purpose. There are various means of Primary Data Collection Method. Well Primary
Data collected for this study is collected by Using Questionnaire Method. Which is
Devised to be Brief and Sample.

Secondary Data:-
Secondary Data is that type of data which already available and is collected for some
purpose. Well Secondary data for this study is collected from industry’s website, &
by Using internet, publications, Journals & Research Papers.

Sampling Design:-

For this study the survey is conducted among the 100 respondents from Mumbai
who watch movies in PVR Cinemas. Initially, keeping in mind the objectives of
research the rough draft was prepared. The final questionnaire was prepared after
changing some important content in it. Thus my Sampling came out to be Non
Probability Convenience sampling.

Statistical technique through which Data is Analyse is Logistic Regression. It helps in

Analysing whether the marketing strategy was effective or ineffective.

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1.4.4 Limitations of Study

In Attempt to make the project authentic and reliable every possible aspect was kept
in the mind. Never the less, Despite the fact constrains were at play during the
formulation of this project. Some of the limitations of study is as follows:-

1. This study is purely based on the responses received from the respondents.

2. It was very difficult to approach the people to fill the survey form.

3. Since I was not the authorized researcher, This study made

keeping in view utmost cost effective.

4. This Study is done in a very limited Time Span.

5. Mixed Responses were there among different age group of respondents.

6. People were some were unwilling and hesitated in replying Questions.

7. The Consumer behavior being dynamic in nature, there is every possibility

that over the time finding of today may become invalid tomorrow.

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2. REVIEW OF LITERATURE

Nandini Raghavendra (2010) “Multiplex industry: Ready for

consolidation”

In the five years since the Anil Ambani-led entertainment group (then Adlabs,
now Reliance Mediaworks, RMW) bought a controlling stake in Manmohan
Shetty's Adlabs in a whopping Rs 350-crore deal, along with their 16 multiplex
screens, the industry has not seen big buzz deals. Till, Shravan Shroff decided to
sell his screen dream — Fame (96 screens) to Inox. There is still a huge untapped
potential. The big five players i.e Inox, Adlabs, PVR, Waves, Big Cinema, in a
unified voice feel there is a lot of space to grow. The problem, if at all, is not of
too many players right now but factors like piracy, shorter windows with satellite
and home video eating into theatrical and, of course, a low success ratio of films.
These plus the economic slowdown, saw expansion plans go slow. So, due to a
host of reasons, the present may look a bit bleak (add IPL to that list) but the long-
term scenario looks intact. According to the Ficci-KPMG 2010 report on the media
and entertainment industry, by 2013, the number of plex screens in India is likely
to cross 1,600. "Multiplexes have become an important and integral part of the
domestic theatrical industry. They have made a significant impact in bringing
viewers back to the cinemas. This is reflected in that as much as 60% of Indian
theatrical revenues for Hollywood and Hindi films, come from the multiplexes
while for South Indian films, it is 25%. Given the experience of consumers and
part digitalisation, the importance of plexes in the distribution space is here to
stay," says executive director and head, media & entertainment, KPMG, Rajesh
Jain.

S. Romi (2008) “PVR Cinema- Success Story”

From rickety trucks to swanky malls. It’s been a long journey for Ajjay Bijli. Born
in a family that was into trucking business, he was asked to look after his business
after he completed his studies. With Priya, Mr Bijli had tasted blood and now he
wanted more. “Since we screened English movies regularly at Priya, I was in
constant touch with Hollywood companies like Columbia, UV and Warner
Brothers during that period. The market for English movies in India was growing in

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a major way and these companies were looking for an outlet in India. I also came
in touch with Australian company Village Roadshow that was looking for a
partner in India. Soon we were partners,” says Ajjay. So was born the joint
venture Priya Village Roadshow Ltd or PVR. Together they started setting up
multiplexes for India. As luck would have it, Anupam was on the blocks. Mr Bijli
grabbed the opportunity and turned it into a multiplex in 1997. “We were amazed
with the kind of response we got.” Meanwhile, the priorities changed for his
overseas partner, Village Road Show, post 9/11. The lull in 2001 forced it to focus
on the American market and movie production leaving the field here open for the
Indian partner. So, PVR or Priya Village Roadshow Ltd became PVR Ltd. “Now,
we only have a tie-up with them for technical backup.” Today Mr Bijli has ICICI
Ventures as his partner which owns 32 per cent stake in the company. Mr Bijli
considers this as no mean achievement. Entertainment is a challenging business as
every city has a different profile and we have to understand the people’s
behaviour there and cater to them.

Gummerson (1996) “Relationship Marketing”

He tried to explore the extent of application of relationship marketing in service

sector. According to his findings, the service users hold good image of the
company if it provides effective CRM services. He found that poor relationship
marketing caused discontinuation of services by many customers. The same
concept applies to Indian customers too. Service industry players need to put
thrust on this area to maintain profits on a sustainable basis.

V.Kumar (2009) “Using a Customer-Level Marketing to enhance

Firm’s Performance” Customers are now demanding personalization and
customization of products and services ranging from video-on-demand and
personal video recorders (e.g., TiVo) to niche brands and product extensions that
help customers feel unique and stand out from the crowd (Bianco 2004). This shift
in the way firms do business is not only evident it is also clear that the academic
research is changing its course as well to match with the climate in the industry.
Any firm that looks to sell products or services to the market needs to treat its
customers as assets. For example, AT&T was adopting a macro-level strategy to
deal with customers (Squeo andWilke 2004). As a result, AT&Tlagged behind its

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competitors and is getting out of the landline business (not acquiring new
customers) and merging their wireless business with another service provider.
However, DISH Network, which used to offer standard packages of television
channels, realized the shift in customer needs and adopted a micro-level
(customer) strategy to offer customized channels (Grant 2004). As a result, the
growth experienced by DISH Network is phenomenal. Thus, resources need to be
properly allocated to various marketing strategies, which only can be
accomplished if a firm can identify its best customers and prospects and send
those individuals the right marketing message at the right time.

Jain and Dhar (2003) “Effectiveness of CRM”

They studied the determinants of customer relationship management effectiveness

in India. They used in-depth interviews focused on behavioural dimensions of
relationships. It was found that customer relationship management emerged as a
core business process for maintaining and enhancing the competitive edge in
modern business affairs. In the area of services, the issue of customer relationship
management holds much importance. Many a times, it is the CRM that becomes the
deciding factor while selection of services. Customer loyalty is directly related to
the CRM efforts made by the service sector companies.

Sarangi (2007) “Entertainment Industry”

It highlights the aspect of quality of entertainment service industry in India. The

objective was to define the parameters of service quality satisfaction with reference
to entertainment services in a metro city. In a survey of 300 people visiting the
multi-screen cinema halls and luxury hotels, various dimensions of services were
found. Customers in metros and other cities have started watching movies in
multiplexes which provide excellent ambience and quality. When asked about the
factors causing the visit, the customers gave first preference to comfort and
ambience provided in the place. For this aspect, the customers were ready to
compromise on cost and distance factor. Besides ambience, promptness in
services was another factor leading to satisfaction of customers.

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R.J.Cumberworth (2001) “Theming and Design as a Marketing

Medium”
The concept of Theming and design has been related to leisure stimulation, play
theories and service marketing and the practice analyzed thoroughly, using relevant
and up to date examples. Therefore, in summary it is possible to state that the
themed entertainment industry, and the theme park industry in general terms is
developing through organic growth. Much of this is down to technological
innovation and advancements and indeed the talent to put such ideas into practice.
Ideas are also developing in accordance to marketing practice, with new ways of
ensuring customer satisfaction and enhancing the core service product that a theme
park offers. Technology and innovation is allowing the ability to construct higher,
faster, longer rides and attractions but when coincided with Theming, complete
new environments can be produced and with the use of virtual reality, complete
false environments are being created. There is a coming move away from the
traditional iron ride, although they are by no means in decline, technology and VR
is being further developed to create more ambitious 'dark rides' where story telling
combined with special effects creates visitor immersion, which is also apparent in
restaurants, shops and other service orientated aspects. Thus, in reflection, the
future of the industry remains to be seen; yet serious adaptations need to be
considered as visitors demand meaningful and often educational entertainment,
with particular consideration to the increasing gray market.

Charles R.Akland (2003) “Screen Traffic: Movies, Multiplexes and

Global Culture”

Scholars of film exhibition are concerned with the fraught intersection of political
economy and cultural studies. In this timely new study, communications scholar
Charles Acland raises the bar for post-nationalist discussions of cinema culture by
insisting that film going must be approached as a complex of industrial and
cultural phenomena. Using a cultural materialist approach inspired by Raymond
Williams, Acland argues that "film" must be considered as a highly mutable site of
international economics and individual emotional responses, encompassing
technologies of reproduction alongside patterns of reception. Although film has
arguably been a global enterprise since Hollywood began to aggressively develop

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the international market in the 1920s, Acland makes a compelling argument that
film culture became global in a new way in the 1980s when cinema was
reconfigured as a vertically integrated industry in the wake of deregulation
policies. Thus, his study concentrates on cinema exhibition practice as a
phenomenon of global culture from the mid-1980s to the mid- 1990s.The primary
phenomenon under consideration here is the shift in exhibition practices that
emerged between 1986 and 1998, a period when grimy, utilitarian suburban
multiplexes were replaced across North America by monstrous exurban space age
megaplexes. Acland describes the motion picture theatre as an "essential location
at which discourses of global audiences are being worked out and applied," and as
"sites for the mobility and flow of bodies, texts, and money." He associates these
new theatrical settings with "shrunken amusement parks," a logical next step in
the convergence of the corporate entertainment industry during this period. As
Acland points out, in retrospect, this moment might also be seen as the last gasp of
the cinema as such. Since 1998, the emergent technology in cinema exhibition has
been digitalisation, which potentially obviates many of the metropolis/hinterland
relations that have traditionally shaped the cinemagoing landscape. Internet
distribution of pirated mainstream films and independent productions threatens to
displace–or at least radically alter–the importance of the cinema as a site of
cultural dissemination.

Nod (2006) “The Entertainment Industry”

The entertainment industry demonstrates a multi channel structure, with

companies owning several forms of companies in each link of the value chain. The
industry is converging toward a single model, which combines production of
content with multichannel distribution. All companies try to sell content in many
ways, e.g. movie, TV show, book theme park, etc. All but two of major players in
the industry conform to this model. Non-conforming companies have regulatory
barriers (foreign owned) or do so out of choice. Some companies (Disney) buy
distribution channels, i.e. networks (ABC); others build their own (News Corp.,
Time Warner) or do both Viacom (WB, CBS). The newest trend is to combine
production and distribution with added distribution possibilities of internet (AOL
Time Warner, Vivendi Seagram). In this industry we find vertical integration
through direct ownership, as well as commercial transactions via long-term

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contracts and one-time “spot market” transactions. Ironically, even the resources
can be “owned” – as in the case of the old “studio system” which tied actors to
studies for a number years. In today’s industry, these arrangements are still in place,
with actors signing on for “x number of picture” contracts with various studios.
Production companies can either be independent or owned by integrated
companies. In either case, production from one company may be sold to a
competing network or distributor. Finally, local television affiliates and local
movie theaters are sometimes bound by contract, sometimes entirely independent,
or sometimes owned by networks. This last situation is usually the case with large
metropolitan areas, where the networks want to have a closer link to the customer.
Agents and other facilitators play a commercial conduit role of helping to bring
together various people and companies along the value chain.

Ashwin B. Sonone and Rajendra N. Pathak (2005) “The impact of

Multiplex Cinema’s in India”
The cinema exhibition industry in India is growing at 10% per annum driven by
multiplexes, which are expanding rapidly in major metropolitan cities as well as
second and third tier cities. Favorable demographics in a cinema-crazy nation, tax
exemptions, and quality locations such as malls, are driving growth of multiplexes
in India. The study provides a snapshot of the market including the two segments
multiplexes and single screen cinemas. An overview gives a quick picture of the
market with estimated market size, growth rate and theater distribution in India.
Various business models adopted by Indian multiplex operators are presented
alongwith typical revenue streams and cost base. An analysis of drivers reveals
that on the supply side - growth in film industry, improving real estate supply, and
favorable tax exemptions have help in growth of this sector while on the demand
side favourable demographics, rising income levels and willingness of people to
spend on entertainment are increasing footfalls. The key challenges identified
include slowdown in economy, alternate modes of entertainment, development
delays, piracy and uncertainty over entertainment tax exemptions. The industry is
characterized by seasonality, low screen density, increasing average ticket prices,
and reducing shelf life of movies. The key trends identified include producers
bypassing distributors, shift to digital cinema, and alternate content in

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multiplexes, retail partnerships, and new single screen formats. India's craze for
films has not been fully exploited by the "Film Exhibition" industry due to the
lack of screen density in the country coupled with the poor quality of screens.
"Multiplex Cinemas" offer an alternative to tap this potential by providing a quality
experience to the viewer as well as economies to the multiplex operator. "Films"
has been one of the integral components of the Indian entertainment industry
contributing nearly 27% of the total revenues of the entertainment industry.
Besides, films also contribute to other components of the entertainment industry
like music, television and live entertainment. The Indian film industry is one of
the most complex and fragmented national film industries in the world
comprising of a number of regional film industries like Hindi, Tamil, Telugu,
Kannada and others. The Hindi film industry is the most popular among them.
Though India produces the largest number of films in the world (Approximately
1000 per year), it accounts for only 1% of the global film industry revenues. In
spite of being over 90 years old, the Indian film industry was accorded the status
of industry only in 2000. Over the years, the Indian film industry has been highly
unorganized as film financing was dependent on private and individual financing at
extremely high interest rates. Only recently, the industry has got access to
organized finance. With vertical integration taking place between producers,
distributors, exhibitors, broadcasters and music company’s corporatization is now
taking shape in the Indian film industry. We believe, that corporatization, will
bring about transparency, accountability and consolidation which will help to
improve the overall profitability of the Indian film industry as well as reduce piracy
and leakages which presently account for 14% of the Indian film industry's
revenues.

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3. INTRODUCTION TO PVR CINEMAS

PVR is a journey...
A journey which started twenty years back with a single property in New Delhi
and today, it is amongst the top 10 cinema exhibition companies in the world.

PVR is an innovator which not only set new standards for itself, but for the entire
exhibitions industry;An effort which revolutionized the way entertainment is
consumed in India.

In India, PVR cinemas, is the largest and the most premium film entertainment
company and is listed as India's Most Trusted and Most Attractive brand
consecutively for three years since 2013 in the Category of Entertainment and
Display.

Keeping innovation at the core we don't just bring the best of the technology to our
customers but also enhance the overall experience with world class architecture,
infrastructure at the best of locations in the city.

Movie watching is the passion that we cultivate together; we have something to offer
to everyone. We live by our promise of catering to every patron's need through our
various cinema formats varying from PVR Talkies to PVR Director's Cut.

The journey from a single screen to 500 screens has been stupendous. As we continue
to grow, we strive to excel in the minds of our patrons by bringing the latest
technology, the most sought after content, world class ambience and scrumptious
F&B services. We are a consumer company; our dedicated team at PVR takes
immense pride in providing the complete user experience.

The Vision
The company's focused vision is its commitment to provide the highest quality of
cinema viewing experience in the country while constantly engaging with their
customers and redefining cinema viewing in India.

Our ability to reinvent, to innovate and to challenge ourselves is a testimony to the

revolution that we have brought in the cinema exhibition industry. As innovators
in the realm of cinema, our philosophy has always been to push the envelope and
come up with unique cinematic experiences for our audience.

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We presently stand at a count of 552 screens across 120 properties in 47 cities and
aspire to surpass 1000 screens by 2018 pan India, with equal penetration in the tier II
and tier III markets.

PVR constantly strives to collaborate within its departments and with other partners
to give the best and most comfortable movie watching experience to its patrons.

Brief Description

PVR is the largest and the most premium film entertainment company in India. It
is listed as India's Most Trusted Company in the Brand Trust Report consecutively
since the past three years in the Category of Entertainment and Display.

Since its inception in 1997, the brand has redefined the way people watch movies in
India. Serving 70 million patrons at PAN India level, the company acquired Cinemax
in 2012 and has recently entered into definitive agreements to acquire DT Cinemas.
Currently, PVR operates a circuit of 552 screens across 120 locations in 47 cities.

PVR Ltd, the integrated 'film and retail brand' has PVR Cinemas as its major
subsidiary and PVR Leisure and PVR Pictures, the other subsidiaries. PVR Leisure
focuses on rolling out F&B and retail entertainment concepts. It's one of a kind
venture, 'PVR BluO' is the largest bowling chain in India comprising of 135 cosmic
bowling lanes which spreads across 6 centres. PVR Leisure's first casual dining
concept 'Mistral' is another venture that offers patrons a high quality food indulgence
experience. Adding to the portfolio, PVR Pictures has been a prolific distributor of
non-studio/ independent international films in India for many years

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About the Company

Priya Exhibitors (p) ltd is a part of the diversified Bijili Group, which has interests in
transport, finance and construction sectors all over India. After a downturn in the
industry in late 80s when the onslaught of video wars at its peak cinema has now been
rejuvenated with the latest international trends in cinema exhibition reaching India’s
shores swiftly with the arrival of satellite TV. The capitals cosmopolitan audience is
becoming increasingly aware of the advanced cinematic technology that enhances the
movie going experience and this has whetted their appetite for watching movies on
the “big screen “.

To cater to the increasingly sophisticated tastes of the audience Priya exhibitor Pvt
Ltd. totally refurbished the existing cinema in June 1991 including installation of a
Dolby stereo sound system. They also gained exclusive rights to screen blockbusters
from major distributors mainly Warner brothers, 20th century fox, united international
pictures, small wonder then that the cinema has become the focal point for
entertainment in the capital for both the young and old attracting over 30,000 patrons
a week. Infact, “Speed” set a national box office world record of Rs.7,85,000 in its
first week of screening at PVR (the highest ever for an English film), which is
remarkable considering the relatively low price of a cinema ticket in India.
Buoyed by the overwhelming success of the cinema after upgrading, Priya exhibitors
ltd have taken he next initial step for setting up the first multiplex in the country in a
joint venture with Village Roadshow Ltd, Australia’s leading entertainment
corporation.
PVR is a brand name synonymous with state-of-the-art cinema exhibition in India.
PVR specializes in developing and operating state-of-the-art Multiplexes.
PVR Cinemas are the leading cinemas in the country with an emphasis on design,
technology and service. Over the last three years, PVR has established itself as a very
strong brand associated with movies, quality exhibition and youth-targeted
promotions
The company was conceived as a Joint Venture between the Bijli family, headed by
Mr.Ajjay Bijli as Indian Promoters and Village Roadshow Limited of Australia, one
of the largest multiplex operators in the world with more than 1500 screens under
operation.

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It is the Leading independent distribution company in India which has got a pan-India
distribution network.

 1997 Becomes the pioneer in Indian multiplex and collaborated with

Village Roadshow to open its first Cinema- PVR Anupam in Delhi.

 2003 first cinema company in India to get private equity investment.

 2004 launched India's biggest 11-screen multiplex at Forum Mall, Bangalore,

launched India's first Gold Class cinema at PVR Bangalore. Introduced PVR
Plaza under the Heritage Flagship.2006 Listed on BSE/ NSE and launched
PVR talkies, the People's cinemas.

 2007 Launched a new sub- brand PVR premiere for the discerning audience.

 2008 Reached the 100- screen milestone. Launched the first Digital Cinema
with PVR Premiere at Ambience Mall, Gurgaon.

 2011 Reached the 150- screen milestone. Launched the new paradigm in
cinema viewing- Is Director's Cut, a 7- star movie viewing experience.

 2012 Completed 200

 2015 PVR awarded as The India's most Trusted Cinema Display Brand in
Brand Trust Report 2015.screens, Acquired Cinemax and became the Number
One Cinema Chain in the country. Became India's first fully Digital Cinema
chain Launched a new sub brand, PVR ECX at Kurla, Mumbai, Launched PVR
IMAX at Forum Mall, Bangalore

 2013 Reached the 400- screen milestone.

 2014 Reached the 100 cinemas property milestone. Brought alternate

content in India - PVR Live.

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3.1 Features of PVR Cinemas:-

Luxurious Auditorium:-
Enter another world, the likes of which has never been seen and experienced before in
a cinema hall. The entire facility is alive with movie themed art, par excellence
service and state of the art technology to deliver the ultimate cinema experience.

Concierge Services:-
Our dedicated concierge service guarantees a smooth experience for booking tickets,
priority bookings, signing up as a member to our Director's Cut privilege Program,
corporate bookings, private screening, hosting events and special occasions and more.

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Pre or Post Movie Dining experience:

Make your movie experience complete by dining at Mistral, our all-day dining
restaurant. Whether before or after your movie, relish the dishes by Chef Mayank
Tiwari and his team. Sip in your favourite wine or spirits from our eclectic beverage
list for a full blown experience.

Gourmet Offerings:

Our in-auditorium food & beverage experience is second to none. Enjoy the luxury
cinema and dining experience in the city at the most admired PVR Director's Cut.

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3.2 Others Brands of PVR Cinemas:

PVR Pictures:-
Founded in the year 2002, PVR Pictures limited is the largest independent studio for
the distribution of Hollywood films in India. 100% owned subsidiary of PVR
Limited, PVR Pictures is the largest cinema exhibition in the country. PVR Pictures
emergence as the most Prolific & Successful Distributor emanates from the wide
range of genres & the consistent quality of content of independent foreign language
films that the company has piloted. With over 300+ Hollywood, 150+ Hindi, 70+
Regional films across genres being release under this Banner over more than a
decade. PVR Pictures has the highest Box office shares of Foreign language films in
the country over a Decade.

PVR IMAX:-

PVR IMAX is an entertainment experience so real you feel it in your bones, so

magical it takes you places you have never been, so all-encompassing you're not just
peeking through the window, but part of the action. Behind it is a world of high
technology - proprietary software, architecture and equipment pioneered by IMAX.
IMAX is unique - not an entertainment or technology or distribution company but all
three at once: an innovator with patented technology; a Hollywood insider that
partners with the world's most celebrated moviemakers to enhance their biggest
blockbusters and documentaries; and a global enterprise with more than 837 theatres
in 57 countries. There's only one IMAX, and once experienced there's no going back.

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IMAX Corporation is one of the world's leading entertainment technology

companies, specialising in immersive motion picture technologies. The worldwide
IMAX® theatre network is among the most important and successful theatrical
distribution platforms for major event Hollywood films around the globe, with
IMAX theatres delivering the world's best cinematic presentations using
proprietary IMAX, IMAX® 3D, and IMAX DMR® technology.

It is going to the theatre to forget you're at the movies. Sitting there, without the
slightest doubt, convinced you're someplace else. Going, in the space of minutes, to a
place that's frightening, intense, heart-rending, altogether magical - a place you've
never been before.
IMAX grabs your senses. Visually, there is no frame. The picture's bigger, higher,
wider than your field of view. You're no longer at the window peeking out; you're
outside among the stars. And that sensation is intensified by the sound. It's all around
you and it's real - so much so that the whole experience is visceral. You don't just hear
and see an IMAX movie. You feel it in your bones.

There's a complex web of high technology and architecture that makes an IMAX
movie real - and it's largely stuff that IMAX invented. We had to, because we are
committed to pushing the boundaries and doing things no one in cinema has ever
done before.

The highest-resolution cameras in the world. Projection lights so bright you can see
them from the moon. A sound system so precise you can hear a pin drop from
across the room and know exactly where it fell. And every IMAX theatre is
customised with our patented screen and seating design to ensure you're always in
the centre of the action - no matter where you're sitting.

It's all fascinating in its own right, but once the lights go out it doesn't matter
anymore. IMAX isn't about the hardware. It's not about production.

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PVR BluO:-

PVR bluO is one of a kind of entertainment concept in India. Simply speaking what
T-20 has done to the sport of cricket in India, bluO has done the same to the sport
of bowling. In other words, bluO is a concoction of fun + bowling, world cuisine,
music, adventure coming together. With bluO, we have redefined bowling as a
popular lifestyle and entertainment sport in the country.

Idea behind bluO?

The idea for setting up bluO was to provide one stop entertainment destination to all
and also promote the sport of bowling in India. Initially bowling was not a much
popular sport in India as it is now. We wanted to promote bowling not just as an
indoor sport but also as leisure and entertainment activity and we feel we have been
able to carve out a distinct identity for bluO clearly evident from our increasing base
of loyal customers.

Distinguishing Features
Since bluO is a unique concept, it is supported by some exceptional elements that give it that
extra edge. These involve a path breaking rhythmic interior design with a sensual play of
light & form and the ceiling that emanates as a ripple wave. It is energetic, stylish and
reflects the lifestyle and ideology of today’s youth.

Positioning Statement

The marketing strategy of bluO revolves around two pillars. The first is to create
stronger vitality and the second a stronger stature. In order to create a stronger vitality
across all TGs and age groups, we devise specialized programmes and promotions to
achieve that. On stature front, bluO leverages the strength of being a PVR group of a
company by inviting celebrities from Bollywood film fraternity to promote movies.

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PVR Nest:-

PVR Nest is a pioneering endeavour in the Indian entertainment industry which

rehabilitates the Children at Risk in the vicinity of PVR complexes; while
establishing cinema and art as a viable and productive medium of education
and living amongst the urban children.

The PVR Group was the first cinema exhibition company

to set up a sustained and focused social responsibility initiative by introducing

PVR Nest (PVR Network for Enablement & Social Transformation) in 2006.
Initiated much ahead of the directives in the Indian Companies Act 2013, PVR Nest
believes in educating, empowering and building a collaborative society to assist
India’s developmental goals.
As reflected by our core area of work, corporate norms, values, motivational drivers
and resource allocation, the prime stakeholders of all the programs of PVR Nest are
children.

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3.3 Relationship with village roadshow

In 2002, village roadshow was undergoing a strategic and business restructuring

worldwide. As part of their worldwide strategy, they decided to concentrate on the
Production business and on Exhibition business only in those territories where
they have majority control and have the critical mass of screens. In line with this
strategy they exited from almost 20 countries worldwide, including India. Village
Road show’s inability to support the growth plans of PVR, the Indian promoters
offered to buy out the Village stake and the joint venture was mutually decided to
be terminated in June 2002. However, though Village Road show exited as a joint
venture partner, the excellent relationship between both companies continues and
is reflected by the fact that PVR continues to have an exclusive long term technical
and marketing services arrangement with its erstwhile partners on a long term
basis. During the 5 years of joint venture with Village, PVR was exposed to best
business and operational practices in the Cinema Exhibition industry and was able
to revolutionize the way to go to cinemas.

3.4 Diversification
PVR has also ventured into the business of film distribution and set up PVR
Pictures, a fully-owned subsidiary of PVR Ltd. PVR Pictures specialises in
acquisition and local distribution of films. PVR Cinemas has also come out with a
film magazine. PVR Movies First, as the magazine is called is the latest addition
to PVR's big bouquet of offerings in the movie entertainment business. It is a
monthly magazine and is expected to fulfill the information needs of the die-hard
movie fans.

3.5 Market Penetration and Development

Beyond the existing markets, PVR is contemplating implementing new multiplex
projects in Delhi, NCR, Mumbai, Hyderabad, Bangalore and Indore.

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3.6 Swot Analysis of PVR Cinema

Strengths –

 First mover advantage in the multiplex business in India

 Updated technology

 Premium positioning

 Plays Hindi, English, Regional & foreign movies

Locational strength

 Ambience

 Started the concept of ‘a complete movie going experience’

 Market leader

 Very strong brand equity

 TOM recall

 ‘Original’ multiplex

 Blend of retail &

entertainment
Weaknesses –
 High cost perceptions

 T.A very specific (not mass service)

 Disjointed images for all PVR properties

 Customer retention

 Parking
problems
Opportunities –
 First mover advantage

 Growing family spend on entertainment

 Large film industry – over 200 hindi films every year

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M Com. Sem III

PVR loyalists
Threats –
 Competition blooming large Government’s interference Entertainment Tax
 Other Multiplexes as competition

 Other ways of entertainment

 Accused of increased crime rate

 Piracy No control over surroundings e.g. West Delhi

 Movies becoming bigger than the brand

3.7 Marketing Strategy

Marketing strategy is a process that can allow an organization to concentrate its

limited resources on the greatest opportunities to increase sales and achieve a
sustainable competitive advantage. Marketing strategies serve as the fundamental
underpinning of marketing plans designed to fill market needs and reach marketing
objectives. Plans and objectives are generally tested for measurable results.
Commonly, marketing strategies are developed as multi-year plans, with a tactical
plan detailing specific actions to be accomplished in the current year. Time
horizons covered by the marketing plan vary by company, by industry, and by
nation, however, time horizons are becoming shorter as the speed of change in the
environment increases. Marketing strategies are dynamic and interactive. They
are partially planned and partially unplanned. Marketing strategy involves careful
scanning of the internal and external environments which are summarized in a
SWOT analysis. Internal environmental factors include the marketing mix, plus
performance analysis and strategic constraints. External environmental factors
include customer analysis, competitor analysis, target market analysis, as well as
evaluation of any elements of the technological, economic, cultural or
political/legal environment likely to impact success.

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3.7.1 Marketing strategies of PVR cinema

Segmentation− On the basis of customer preferences, we may classify PVR under
the Clustered category. This is owing to the fact, that out of the entire masses they
have clearly defined their target audience and aim to cater to them. Also, PVR is a
Concentrated Market because they only cater to the premium movie-going
audience i.e. SEC A and SEC B. PVR Cinemas has approx. 22 million movie
goers per month.

Targeting- PVR being the first of its kind has always been a market leader and
therefore its offering to the customer is Innovative. PVR has premium pricing and
they target mainly SEC A and SEC B. PVR has brought to its customers the
experience of Luxury Cinema. PVR uses the concentrated method as they have
target a much focused audience out of the entire masses. PVR witnessed
tremendous success Europa Lounge in Delhi. PVR’s chain use Differentiation
method for pricing. It practices different price slabs for different target audience.
Positioning: PVR had, and still has a very well planned market position. Its
premium positioning affects the customers perceptual positioning. Therefore, they
decided on their marketing strategy and pricing, keeping the target market in
mind. In case of PVR, they make use of all their tangible elements to prove to
their customers that their movie tickets are worth the price they are paying. Also,
since some of the other movie theatres (which are not multiplexes) are still
offering movies at rates as low as Rs 50, it is the task of its marketer to ensure
that PVR comes across as a superior brand in terms of cinema viewing as well as
the experience.

Entertainment Marketing: Marketing of entertainment services is referred as

entertainment marketing. Entertainment services include screening of movies,
their premiers, press & media required special screening of movie show & also
different types of eatables served within the multiplex is divided into two types
namely:

Movie Marketing: this is one of the most important areas which is marketed &
helps in creating a brand image for the company. The main focus is to market the
movies that are big screened along with creating & making aware the people about
the multiplex. Also during such premier’s press & various media channels are

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invited to cover the whole premier event which has a positive effect on the
multiplex. As stars are called for the premiers of special movies along with
outside people, this act as a “synergy effect” and thus more & more number of
people become aware about the multiplex and its day to day activities. All above
this with the help of various media channels, huge & extensive advertising is done
for the movies which add to the recall value on the minds of the people.

Special Events Marketing: the positive point that multiples gains over others is
that along with the screening of various movies it also screens special event such
as F1, cricket matches, various documentaries and social messages that are to be
passed n community. Multiplex also organize celebration of religious festivals as
well as special days such as valentine day, friendship day, Independence Day &
republic day & events such child fest. Also, it arranges for many events & birthday
parties as per the customers’ demands. Such activities give unique experience to
its customers who feel the same home & personalized atmosphere present there.

Café Marketing: This is an altogether new concept started and undertaken by

multiplexes for marketing its movies. It basically helps in promoting its movies
with the help of eatables sold in the cafeteria within the premises of the multiplex.
Here the eatables are named after the movies & various film stars during the
release of much hyped & successful movies.

Tie up With Various Corporate: Multiplex has tie-up with many corporate
associates as they help each other in their day to day activities. Both of these go
hand in hand. Their relationship is of “give & take” type; it is like the corporates
organize or they host the events that are conducted in the multiplex & in turn the
multiplex gives it sales indirectly.

Movie Shootings & Advertisements: Multiplex also allows shootings for movies
& advertisements as it helps to publicize & create a brand name for itself. Movie
shootings advertisements take place here because of the ambient factors & also
space the surrounding. Also it acts as a business activity as the movie makers are
not given the premises free of cost.

Special Screening of Hollywood Movies: A new concept started by many

multiplex is the screening of Hollywood movies at their theatres. These special
screenings are referred as “Midnight Matinees”. Midnight Matinees is another

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innovative attempt on the part of multiplex to combine various elements of leisure

& partying with cinema viewing.

3.7.2 Marketing mix – 7 Ps

1. Product
A product (in the marketing context) may be tangible, intangible or both. In case
of services, on the contrary, the tangible component is nil or minimal. In services,
there is no or very little tangible element because of which they are considered as
benefits, which are offered to the target market. First, a service is a bundle of
features and secondly, there benefits and features have relevance for a specific
target market. Therefore while developing a service product; it is important that
the package of benefits in the service offer must have a customer’s perspective.
Core Benefit is the MOVIES that the customer comes to a cinema hall for, along
with the attendant experience of PVR. The expected product in PVR’s case would
be ambience, hygiene, good service, parking, candy bar etc. PVR has augmented
its product offerings:

Luxury cinema - PVR has brought to its customers the experience of luxury
cinema.

After the tremendous success of Cinema Europa in Delhi, PVR Cinemas has
introduced the concept of luxury viewing to Bangalore as well. Gold Class
Cinemas have been introduced for the first time in India, are two ultra luxurious
exclusive auditoriums, each equipped with 32 plush and fully reclining seats and
generous legroom. Patrons can also enjoy star like treatment at the exclusive Gold
Class lounge which provides an excellent pre cinema experience with scrumptious
food and beverages.
Bulk Bookings - There are special arrangements for bulk bookings (of twenty or
more tickets) done by corporate. Details can be filled online and PVR executives
themselves get in touch with the concerned people.

E-booking and tele-booking - PVR also provides the factility of e-booking, which
was first started by PVR, it has now been copied by Satyam cineplexes as well. It
also offers telebooking.

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A Parties at PVR - PVR has also started helping customers in planning

birthday/kitty
parties at PVR. They have made PVR a wholesome entertainment experience than
just a movie watching spree.

A Movie newsletter and magazine - To keep its customers hooked on to movies

and to PVR, it has also come out with an online newsletter called ‘PVR Wire’ is
directly mailed to the subscribers and can also be downloaded from their website.
They have also launched a movie magazine called ‘Movies First’.

A Movie vouchers - They have also taken out the unique concept of movie
vouchers which people can use as gifts. Many corporates have also started using
these as incentives and rewards for their employees. The vouchers are available in
denominations of Rs 100 to Rs 350 and a minimum of 25 coupons needs to be
purchased to avail of the offer.

2. Price
PVR when started off had a huge advantage of being the only one of its kind in
Delhi to begin with. Therefore, they could charge a higher amount to its target
audience, as they did not hesitate to pay the sum for the new concept. This high
pricing helped them make maximum gains. Also, PVR had, and still has a very
well planned market position. Its premium positioning affects the customers
perceptual positioning. In case of PVR, they make use of all their tangible
elements to prove to their customers that their movie tickets are worth the price
they are paying. Also, since some of the other movie theatres (which are not
multiplexes) are still offering movies at rates as low as Rs 35, it is the task of its
marketer to ensure that PVR comes across as a superior brand in terms of cinema
viewing as well as the experience. The movie theatres market is a Free Market,
even though the government in the past regulated it. This allows PVR as the
market leader to set its own prices. Prices that had originally started from Rs 125
(for evening shows) and Rs 90 (for morning shows and weekday plans) have
increased to a high of Rs 150 and the lowest is Rs 100. The high pricing however
has not led to any change in the footfalls that PVR gets. Even in slighter crowded

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shows, the occupancy rates as low as 35% reaches PVR’s break-even points. The
pricing at PVR Europa is Rs 160 and a Gold Class ticket is charged at Rs. 750. It
offers superior ambience, environment, seating, viewing etc in the sum.

3. Place

The issue of location here plays a very important role, as all PVR Cinema Halls
are stationed at good locations in the city, which gathers a large number of
footfalls for them every day. PVRs usually open at an eventful yet untapped
location, followed by which (as we saw in case of Anupam PVR Saket) other
retail chains get opened around it as well. Their places are always well situated
and are well linked. PVR does not have any other channel of distribution, as
their service is sold solely at their chains. They do not follow any franchisee
outlets, even though they indulge in ticket sales online and via tele-booking. The
only intermediary involved for procuring movies are Indian as well as
international movie distributors, by way of whom they acquire the movies.

4. Promotion

PVR as a brand indulges into print advertisements on every Friday giving out the
latest movie schedules. Any new developments are communicated to the audience
via press releases. Hence there is a strong element of PR involved. Apart from
that, they usually have contests pertaining to latest festivals like Valentines Day,
New Years Eve, Oscar Movies Week etc. PVR also has a host of online
promotional contests associated with movies. They are also in collaboration with
cellular services like Airtel have SMSand- win contests and give out free tickets to
the winners. Also, PVR attracts a lot of commercial shooting / media coverage via
programmes etc which promotes it as a brand in a big way. Organizing Star
Events on Premiers of movies like ‘Kuch Kuch Hota Hai’ helps PVR relate better
with its target audience i.e. the youth. The whole PVR banner and its exterior
environment including movie hoardings, banners etc help promote the concept of
movie viewing as well as PVR as a strong and successful brand. PVR also hosts
premiere shows with leading movie stars visiting the various PVR cinemas. They
also host numerous fun events for children while screening animations etc.

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5. People
This indicates the Employees and Customers. Service must be fully developed
and internally accepted before it’s launched. PVR indulges in the following:
Complimentary ticket on payment of entertainment tax amount at any point of
time (2 days in advance) to the employees, subject to Availability, Tickets to
employees are given for: 1+1 oneself and employees guest and 2 for immediate
family i.e. parents, spouse etc. This has been done to encourage movie going
among employees as well as customers, Gives 10 national holidays to
employees, Report customer grievances to managers, Strict on rules on no
smoking, drinking on job etc, They are given personalized badges – symbolizes
that the employees pride themselves on being a part of the PVR family, Very
great importance is given to person hygiene and appearance –Clean uniform and
shoes, Not allowed to make a gesture to ask for any sort of a tip / gift from
customers, Job performance evaluation at the completion of first 90 days of
employment. They are evaluated once a year on their anniversary of date of
joining by individual superiors and records regarding employees’ progress are
evaluated, all employees are taught to deal with safety problems like accidents,
Fire, bomb threat, armed robbery etc. All trainees are made to train at all
departments like ticket sales, computer ticketing, telebooking, sales enquiries,
customer service skills, cash handling sales, credit card sales etc. Lastly, it is
made sure that all employees represent PVR in the best way possible and sell it
as a strong and well-established brand. All 55 employees are given full details
on what they are representing and informed all about PVR to make them a part of
the family. For the customers’ convenience, it is ensured by the organisation that
there are no loopholes. In case of any customer complaints, the employees are
immediately directed to report the same to their managers. The nature of all
employees is very friendly, informed, helpful, reliable, soothing, cheerful and
youth-like. Therefore, the audience can easily relate and communicate with
them.

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6. Physical Evidence
Though customers cannot see a service, but they can definitely see various
tangible clues of the service offer like facilities, communication, objectives,
employees, other customers, price etc. On basis of these, he forms his opinion as
they help us to tangibalise the service. . Therefore, it is essential to manage
physical evidence. Atmosphere – helps to shape opinions. The building, layout,
colours of interiors, tickets, labels, logo of the organisation etc help to formulate
a good unified corporate image / identity.

7. Process
It was the first cinema company to introduce computerized ticketing through
use of international box office software in its cinemas; first cinema to accept
credit cards in India against tickets; and the first to offer cinema tickets on
Internet with online payment gateway for payment.. PVR was the first to install
surround sound and Dolby in Delhi. Gurgaon 7 screen megaplex is equipped
with the latest THX approved sound system for the real life sound effects and
the state of the art Xenon based projection technology.

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3.7.3 PVR across the country

PVR in Delhi

PVR has been a pioneer in multiplex development by setting up India’s first multiplex
PVR Anupam4 at Saket in city of Delhi. The company has since grown to become the
largest cinema exhibition player in the country and has 5 theatres with 19 screens in
city of Delhi/Gurgaon under its operation.

The Cinema can boast of the highest box office collections in India for five
consecutive years since its opening. Located around the Cinema in the same
complex are a number of up-market restaurants, pubs and fast-food eateries that
make it a popular youth hangout place and indeed an entertainment experience for
the entire family.
PVR Priya, a 25-year-old cinema still considered the best Cineplex in Delhi, was
completely renovated and brought into the fold of PVR in January 2000. PVR Priya
boasts of the highest box office collections in the city of Delhi after PVR Saket. It
also has the distinction of having the widest screen in India.

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Following the tremendous success in South Delhi, PVR expanded to West Delhi in
2001 with the launch of two newmultiplexes -- PVR Naraina, and PVR Vikaspuri.
PVR Naraina, with four screens and 830 seats, was launched in August 2001. PVR
Vikaspuri (3 screens, 921 seats) was launched in November 2001.

PVR Group has re-opened one of Delhi's oldest and most popular cinema hall, Plaza;
no known as PVR Plaza. With a seating capacity of 300 seats, the all new single
screen auditorium has been renovated and refurbished to bring back its former glory.
The cinema, unique in its nature, combines the look and feel of the 50s with the
state-of-the-art cinema viewing technologies of today.

The most recent addition to the chain is PVR EDM, this three-screen multiplex,
located in the popular East Delhi Mall, is equipped with the state- of-the-art
technology and is one of its' kind in the vicinity.

The three-screen multiplex has a total seating capacity of 723 seats. It is equipped
with the latest THX-approved three-way surround sound system with real life sound
effects and state-of-the-art projection facility with the latest Xenon-based
technology. The stadium seating arrangement ensures unobstructed viewing from
anywhere in the auditorium.

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PVR IN GURGAON

In May 2003, PVR Cinemas opened North India's largest multiplex- a 7-screen
cinema in Gurgaon. Built over an area of 55000sq ft, this multiplex has an avant-
garde lobby with studio effect interiors and currently offers a seating capacity of
1300 seats. Two luxurious auditoriums called ‘Cinema Europa' have been custom
built with vibrant red,plush reclining seats, double armrests and ample legroom
offering patrons a comfortable and
relaxed cinema viewing environment. The choice of movies played at the Europa are
an eclectic mix of tastefully chosen niche Indian films, internationally acclaimed as
well as Oscar winning Hollywood films.

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PVR IN FARIDABAD

In May 2004, the company inaugurated its sixth multiplex,

PVR Faridabad. Located at the popular Ansal Crown Plaza
in Faridabad, this two-screen multiplex has a total seating
capacity of 522 seats. It is the first of its kind in Faridabad.
PVR launched its first ever franchised Cinema-PVR SRS in
Faridabad. PVR SRS is a 3-screen multiplex that opened to
the public on 12th November, 2004. It has a total capacity
of 776 seats.

PVR IN BANGALORE

PVR Cinemas has opened India's biggest multiplex (11 screens) in Bangalore. Built
over 1,20,000 sq ft of space, this state-of-the-art multiplex is located in the heart of
Bangalore at the Forum Mall in Koramangla with a
seating capacity of 2019 seats. This multiplex includes two ultra premium cinemas
known as the Gold Class and two luxurious auditoriums called Cinema Europa in
addition to seven Classic auditoriums.

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3.7.4 PVR Firsts

 First to launch a multiplex in India - PVR Anupam Saket, Delhi

 First to launch India's biggest 11 screen multiplex - PVR, Bangalore

 First to bring premier movie viewing to India with the

exclusive Europa Cinema and Lounge at PVR Gurgaon
 First to introduce Gold Class Cinemas in India at PVR, Bangalore

 First to form a foreign joint venture with Village Roadshow, Australia

 First to receive institutional funding in the cinema industry

- from ICICI Venture

 First to offer computerized & online ticketing

 First to accept credit cards in cinemas

 First to introduce mobile based information & ticketing service

 First to launch a loyalty program for movie-goers in India

 First to launch 'Movies First' - a monthly magazine that updates

the movie lovers on the latest happenings in Bollywood and
Hollywood.

PVR has also ventured into the business of film distribution and set up PVR
Pictures, a fully-owned subsidiary of PVR Ltd. PVR Pictures specialises in
acquisition and local distribution of films.

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3.7.5 Team
Board of Directors

Mr. Ajay Billi

Ajay Bijli's passion for movies led him to set up PVR Cinemas in 1995. The largest
multiplex chain in India has unassailable lead in the number of screens over
competitors. Clearly, Mr Bijli transformed the way millions of Indians consume
entertainment content over the past two-and-a-half decades.

Mr Bijli's entrepreneurial spirit has been best translated in his achievement in

building the brand PVR. In 1995 he signed a JV with Village Roadshow, a global
film production and exhibition company of Australia, and within a few years the
company pioneered the multiplex format in India. Since its inception in 1997, the
brand has redefined the movie watching experience in India. Serving approx. 75
million patrons at PAN India level, the company acquired Cinemax in 2012 and has
recently acquired DT Cinemas in 2016. PVR Cinemas is the largest chain of
multiplexes in India.
With an Owners/President Management program from Harvard Business
School and a passion to venture into the unknown; Mr Bilji saw his business
diversifying into distribution with PVR Pictures, and hospitality, retail with
successful JVs under PVR Leisure. Acknowledging his business acumen
CNBC TV 18 has recently awarded him with Asia Innovator of the Year award
at India Business Leader awards, 2016 (IBLA) and Images Retail awarded him
as Most Admired Retailer of the year 2016. Besides the recent recognitions, he
has also been gratified with prestigious awards like E&Y Entrepreneurial
Award for Business Transformation, CNBC's Emerging India Award, Most
Admired Multiplex Professional by CMO Asia's Multiplex Excellence Award,
to name a few. Under his leadership, PVR has also bagged the Fortune India's
Next 500 Big and Mid-size companies award as well.

As an industry leader of Indian film exhibition, Ajay is on the Board of

Trustees of the Mumbai Academy of the Moving Image (MAMI) and the
founding member of FICCI Multiplex Association (India). He is also a
member of The Film and TV Producers Guild (India), Young Presidents'

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Organization and is associated with the Central Board of Film Certification,

Government of India.

Mr. Sanjeev Kumar

Sanjeev Kumar is the Joint Managing Director of PVR Limited. He has been
intricately involved with PVR Ltd. since its inception and has over 13 years of
experience in the film exhibition industry. As the Joint Managing Director he
manages the cinema acquisition and distribution business and programming
activities of the company and also oversees the operations and the marketing.
Under his aegis, we became the first company to bring to the country
Hollywood movies to encouraging regional films and initiating Event cinema
as alternate content at pan- India level.

During his tenure Mr Kumar has been conducive in setting up relationships

with various Hollywood Studios including Miramax, Newline, IEG and Zee
MGM. His experience in cinema exhibition stretches the full spectrum of the
company's business, propelling PVR to greater heights.Mr Kumar holds a
Bachelor's degree in Finance and Accounting from Sanford University,
Manchester and a Master's degree in Business Administration from Imperial
College London University. On receiving professional training in operations
and development at the Village Entertainment Center, Australia, Sanjeev
excels in management skills and in the domain of cinema knowledge.

Mr. Amit Burman

Amit Burman is a Bachelors of Science from Lehigh University Bethlehem,

USA, holds a Masters degree in science from Columbia University, New York,
USA and is a MBA graduate from University of Cambridge, UK. He has a
career spanning more than 22 years and is a director on the board of several
companies including Dabur India Limited, Talbros Automotive Components
Limited, Lite Bite Foods Private Limited among others.

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Mrs. Renuka Ramnath

Renuka Ramnath is one of the most experienced private equity fund managers
in India with a full cycle track record of investing capital raised from
institutions of global repute. She played a pivotal role in shaping the Indian
private equity market both in terms of leading pioneering investments as well
as opening new pockets of capital for investment into India.

For close to three decades in financial services, Renuka successfully built

several businesses in the ICICI Group including Investment Banking, e-
commerce and private equity. As the MD & CEO of ICICI Venture for close to
a decade, she led that firm to become one of the largest private equity funds in
India.

Renuka has been featured in many prestigious listings, including the Top 25
Most Powerful Women in Business (Business Today, India); India's most
Powerful CEO's (Economic Times), the Top 25 Non Bank Women in Finance
(US Banker's global list), Asia's Women in the Mix: The Year's Top 50 for
Achievement in Business (Forbes), and most recently in the Top 25 women in
Asian asset management (Asian Investor).

Mr. Sanjay Khanna

Sanjay Khanna is a bachelor in Commerce from Delhi University. He has more

than 30 years of varied experience in the various streams of business including
Textile trading business

Mr. Sanjai Vohra

Sanjai Vohra is a B.Sc graduate from the St. Stephens College, Delhi
University and has completed his PGDM from IIM(Ahmadabad). He has more
than 25 years of varied experience in the Banking Industry including (P)Equity
Finance, Risk Management and Various Debt Products. Sanjai was also
associated with City Bank and JP Morgan.

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Management Personnel
Mr. Sanjai Vohra

Sanjai Vohra is a B.Sc graduate from the St. Stephens College, Delhi
University and has completed his PGDM from IIM(Ahmadabad). He has more
than 25 years of varied experience in the Banking Industry including (P)Equity
Finance, Risk Management and Various Debt Products. Sanjai was also
associated with City Bank and JP Morgan.

Mr. Nitin Sood

Nitin Sood is th Chief Financial Officer for PVR Ltd. and oversees various
verticals of the company - Multiplex, Film Production & Distribution and
Retail Entertainment.

He joined PVR in December 2001 and has twelve years of financial

management experience. He is closely involved in the overall business and
funding strategy for PVR and has played a key role in building the
organisation to one of the Premier Entertainment Companies in India. He has
been instrumental in raising capital from Banks, Institutions & Private Equity
investors to fund the company's growth plans. He plays an active role in key
strategic business decisions, oversees accounting and compliance for various
group companies, leading discussions around any new business expansion and
M&A opportunities.

Mr. Sood is a graduate from Delhi University and is a qualified Chartered

Accountant.

Mr. Pankaj Dhawan is B.com, LLB and FCS with more than 25 years of
experience in various listed entities and has rich experience in Capital, Market,
Restructuring and Corporate Governance. He is associated with the Company
since 2008 and became Company Secretary on 30th May, 2017.

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Mr Kamal Gianchandani

Mr Kamal Gianchandani has more than 22 years of diverse experience in film

financing, co-production, distribution, syndication, licensing, cinema
exhibition and general management. He is widely recognized for his role in
setting-up of a leading on-line movie VOD (video on demand) service.

He holds a Bachelor's degree in Commerce (Hons) from Delhi University, an

MBA from Pune University, and is an alumnus of Indian School of Business
(PGPMAX).

He joined the PVR Group in 1995 and since then has held a number of senior
management positions across the media and entertainment arena. He is the
recipient of the 'Best Distributor Stardust Award' in 2010 and was recently
acknowledged as one of the most influential filmed entertainment professional
in a leading Mumbai newspaper.

Mr. Kamal Gianchandani

Kamal has been the principal architect of the company's marketing &
distribution operations. Under his leadership, PVR Pictures has piloted some
of the biggest independent films, making it the most prolific and successful
distributor of independent foreign language films in India.

With acquisition of Cinemax chain and DT Cinemas, PVR Group went through
a massive transformation. Kamal is at the center of this massive change and
drives the strategy and business planning at PVR Cinemas.

Mr. Renaud Palliere

Renaud Palliere is CEO - International Development of PVR Ltd. Renaud

began his career writing research papers for consulting firms and government
organizations in the Asia-Pacific region on telecommunications deregulation.
Since 2005, Renaud has served on the Board of Directors of PVR Ltd, the

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holding company of PVR Cinemas, publicly traded company listed on the

Bombay and National Stock Exchange, a seat he resigned from in 2012 in
order to take up his current mandate with the company. Renaud continues to
serve on the board of directors of privately owned companies. He graduated in
Contemporary History from La Sorbonne University and attended the Chinese
Faculty of the Oriental Institute in Paris.

Mr Rahul Singh

Rahul Singh comes with a rich experience of more than two decades in the
hospitality industry and is currently serving as the Chief Operating Officer at
PVR Cinemas. His past experience includes working with eminent brands such
as Taj group of hotels and ITC Welcomgroup.

Rahul has been associated with PVR for the last 8 years and has successfully
headed diversified projects for the company. With his profound expertise in the
market intelligence for the hospitality & cinema industry, Rahul spearheads the
entire business operations of the company with the focus on its expenditure &
revenues.

With his unsurpassed knowledge in this industry, he has helped the brand in
each step in streamlining its operations & introducing strategic operational
initiatives at PVR.

Mr Rahul Singh holds a Hotel Management degree from IHMCTAN, Kolkata

and a post Graduate Diploma in Management from IMT, Ghaziabad.

Mr. Ashawni Handa

With a pleasant personality and thorough experience of over two and a half
decades in the industry, Ashawni Handa currently serves as Chief Projects &
Development officer at PVR Cinemas. In the past, he has worked with eminent
companies such as Aditya Birla Group, Jaypee Group, Ansals, American
Embassy and Max Healthcare.

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Ashawni has been associated with PVR for a long period of over 13 years and
has successfully headed major projects for the company. With his excellent
proficiency, his work at PVR comprises of leading certain departments such as
business development, designing, execution & procurement.

Mr Handa holds an M. Tech degree in Structural Engineering & Construction

Management from National Institute of Technology, Kurukshetra.

Mr. Rajat Tyagi

Rajat Tyagi, CIO at PVR Ltd. has over 20 years of experience leading IT and
business in Media, Technology, Telecommunication and Banking Industry. He
is an MBA from IIM (Lucknow) and Engineer from DCE (Delhi). Currently as
head of IT, he is driving the new initiatives in Digital IT space, to enhance
customer experience in movie exhibition, and empower customers and
employees with mobile, web and in-store technologies to simplify and automate
their tasks.

Prior to PVR, Rajat had led the Response-IT for Bennett Coleman & Co, the
largest media house in India, leading the SAP for Advertising Business, and
Pre-Press function. Rajat has also spearheaded the Mobile Money technologies
both at Infosys and at Airtel as head of Airtel Money wallet technology across
India and Africa. Earlier at Standard Chartered bank, he drove the automation
and STP (Straight through processing) in transaction processing, payments and
corporate banking.

3.7.6 Accolades

Ajjay Bijli, Managing Director, PVR Limited, was conferred ‘The Theatre World
Newsmaker of the Year Award for 2003'. It is his vision and outstanding contribution
to the cinema exhibition industry that has made PVR the largest cinema exhibition
company in the country today.

PVR Gurgaon was nominated for an award in the “Best Retail Environment”
category at the “Annual Design Week” awards.

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Ajjay Bijli was also honoured with a special award at CineAsia 2004 for his
significant contribution to the multiplex industry of India. For the first time,
CineAsia honoured an Indian exhibitor. He has also been chosen as Signature Youth
Icon for the year 2005.

3.7.7 PVR as a Brand

PVR has successfully assimilated the Standard operating business and operational
practices of Village Roadshow and set new standards in the quality of exhibition in
India. The quality of cinema viewing has made the PVR brand synonymous with high
quality cinema viewing in the country. This has enabled them to enter into strong
corporate alliance partnerships and co-marketing exercises with leading brands like
Pepsi, Evian, Samsung, Whirlpool, Hero Honda, Bharti, American Express, Master
Card, Pizza Hut, Cadburys etc. This has generated additional steady stream of
revenues for the company
.

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4. DATA ANALYSIS AND INTERPRETATION

1. Age?

Data Analysis:
Out of the total survey 48.5% are from the age group between 15-25, 32.7% belongs
to the age group from 25-35, 8.9% belongs to the group of 35-45 years, 5% are from
the age group of 45-55 and rest from the group of 55-65.
Data Interpretation:
Above survey data shows that people from the age group of 15-25 years are more
aware about PVR , people in the age group of 25-35 are a bit less aware about the
PVR than their younger generation. Age group of 35-45 doesn’t know much about
PVR and above these group the people are hardly aware of PVR.

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2. How often you go for watching movies?

Data Analysis:-

Out of 101 respondents, 23.8 Percent of People watches Movie Once in a Month, 43.6
Percent of people watches Twice in a Month, 28.7 Percent People watches movie
Thrice in a Month and rest of People watches more than three times.

Data Interpretation:-

The Above Data Represents how Often People use to go for watching movies, People
watch movies twice a month may feel the best way to spend their quality time and
23.8 Percent of people watches movie once in a month, reason may be the less income
or His/Her Perceptions.

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3. Which theatre you mostly prefer for watching movies?

Data Analysis:-

Out of 101 Respondents, 30.7 percent of people prefer PVR Cinemas, 47.5 Percent of
people prefer for Multiplex, 17.8 percent of people prefer Fame, and 9 percent people
prefer other theatre for watching Movies.

Data Interpretation:-
Above data represents which theatre people mostly prefer for watching movies, 47.5
percent of people prefers multiplexes because of versatility offered there, 30.7 Percent
of people prefer PVR Cinemas, the reason may the services and Premiumness offered
by PVR Cinemas Staff.

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4. How much money do you spend on watching movie?

Data Analysis:-

Out of 101 respondents, 41.6 percent of people spend money up to 150-200 for
watching movies, 35.6 percent of people spend money up to 200-250, 20.8 percent of
people spend money up to 250-300, and about rest spend money more than 300.

Data interpretation:-
Above data represents how much people spend money on watching movies, out of
which, about 41.6 percent of people spend money up to 150-200, reason may be the
income level.

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5. Are you satisfied with the services provided by PVR cinemas?

Data Analysis:-

Out of 101 respondents, 100 percent of people are satisfied with the services provided
by PVR Cinemas

Data Interpretation:-

The Above Data Represents shows that all are completely satisfied with the services
provided by PVR Cinemas because of their quality and premiumness.

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6. How would you rate the following in PVR cinemas?

Data Analysis:-

Out of 101 Respondents, 66 people feels that cashier interaction is Good, 23 people
feels that cashier interaction is ok and 11 people think that cashier interaction is
Satisfied. Followed by Cashier speed, 55 people feels that its goods, 40 people feels
its ok, and 5 people feels satisfactory. Than For Customer Service Desk, 68 people
feels good, 29 people feels ok, and 3 people are satisfied. Than with Loyalty Program,
65 people feels good, 31 people are ok with it, and 4 people are satisfied.

Data Interpretation:-

Above Data Represents the Ratings of PVR Cinemas in terms of cashier interaction,
cashier speed, customer service desk & Loyalty program. More than 50 percent of
people feels good regarding cashier speed, cashier interaction, customer service desk
& loyalty program, the reason may be the services provided by PVR Cinemas are up to
the mark of the people.

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7. How would you rate the following qualities of PVR cinemas staff?

Data Analysis:-

Out of 101 Respondents, In Terms of Courteousness, 88 People Finds to be Good in

terms of Courteousness, 12 People finds to be ok with courteousness. Followed by
Grooming, 72 people feels good and about 28 people feels ok. Followed by Efficiency
Eff
and knowledge, 79 people finds good with it and 21 people finds to be ok.

Data Interpretation:-

Above Data Represents the Rating of PVR Cinemas Staff More than 50 per cent of
People feels good regarding Courteousness, Grooming, & Efficiency & Know
Knowledge,
the reason may be the services provided by PVR Cinemas Staff.

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8. How would you rate the services provided by PVR cinemas?

Data Analysis:-

Out of 101 respondents, 37.6 percent of people find Services of PVR Cinemas to be
good, 35.6% of people find ok, and about 25.7% of people finds services to be
satisfied.

Data Interpretation:-

Above Data Represents, how people would like the services provided by PVR
Cinemas, 37.6 % of people find services to be good, the reasons may be the
grooming, Courteousness & Services are up to mark of people.

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9. Your movie experience at PVR cinemas?

Data Analysis:-

Out of 101 respondent 52.5% of people had good movie experience, 20.8% of people
are ok with it, 25.7% of people are satisfied with it and rest are not satisfied.

Data interpretation:-

The above data represents the movie experience at PVR cinemas, more than 50% of
people had good movie experience, the reason maybe the good picture quality and
Dolby audio adopted in each and every screen.

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10. Have you ever made a birthday booking at PVR cinemas?

Data analysis:-

Out of 101 respondent 78.2% of people have made birthday booking and 14% of them
have not.

Data interpretation:-

The above data represents the people who have made birthday booking in PVR
cinemas, 14% of people had not made birthday bookings in PVR Cinemas because
they might be having some other plans.

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11. If yes, how was your experience?

Data Analysis:-

Out of 101 respondent 48.9% of people had good movie experience, 27.3% of people
are ok with it, 19.3% of people are satisfied with it and rest are not satisfied.

Data interpretation:-

The above data represents the birthday experience at PVR cinemas, more than 50% of
people had good experience, the reason maybe the good hospitality and offerings
received from the staff.

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12. What comes in your mind when you think about PVR cinema?

Data Analysis:-

Out of 101 respondent 38.6% of people think about price, 29.7% of people are think
about premiumness, 23.8% of people thinks about good services and others have
several views.

Data interpretation:-

The above data shows that majority of the crowd thinks about price as PVR is worth
for money, 29.7% of people needs premiumness when they go for a movie which is
perfectly provided by PVR and also23.8% of people thinks about good services when
they hear about PVR.

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13. Would you like to visit PVR cinemas again?

Data Analysis:-

Out of 101 respondents, 100 percent of people would like to visit PVR Cinemas
again.

Data Interpretation:-

The Above Data shows that all are completely satisfied with the services provided by
PVR Cinemas and thus they want to visit again.

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14. Rate PVR cinema

Data Analysis:-

Out of 101 respondents, 79 percent of people have rated PVR cinemas the 4 stars,
11% have rated 3 stars, 2% have rated 2 stars and rest has given 5 stars rating.

Data Interpretation:-

The Above Data shows that majority of people are satisfied with the services and
quality provided by PVR Cinema majority chunk of people has rated 4 stars to PVR.

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15. Which of the following categories of multiplex are you aware of?

Data Analysis:-

Out of 101 respondents, 76 percent of people are aware of PVR cinemas, 48% are
aware of INOX , 24% are aware of WAVES, 24% are aware of Big Cinema.

Data Interpretation:-

The Above Data shows that majority of people are aware of PVR as it is a satisfying
brand and provides enough facilities which is followed by INOX, WAVES and Big
Cinemas.

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16. How did you come to know about PVR cinema?

Data Analysis:-

Out of 101 respondents, 41.6% heard from others, 35.6% of people came
to know through online advertisement and 16.8% of people read the
billboards and others came to know through its website.

Data Interpretation:-

The Above Data shows that majority of people came to know about PVR
from others, since online advertisement is a great platform for
advertisement, hence it should be increased.

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17. Which of the following marketing strategies are used by PVR cinema?

Data Analysis:-

Out of 101 respondents, 48.5% thinks they used online booking for
marketing strategy, 36.6% of people thinks they give promotional offers
for marketing, 12.9% thinks they give free trials for promotion and others
think that they give online contest for marketing strategy.

Data Interpretation:-

The Above Data shows that majority of people want to avoid the queue
and feasibly book the ticket online and a big chunk of crowd is attracted
through promotional offers.

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18. In the last 30 days, how many times have you visited PVR cinema?

Data Analysis:-

Out of 101 respondents, 55.4% of people have visited once in last 30 days,
28.7% have visited twice, some have visited thrice and more than thrice,
and rest have never visited in a last 30 day.

Data Interpretation:-

The Above Data shows that majority of people at least visit once in a
month to the PVR cinemas.

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19. Do you like watching all types of movies?

Data Analysis:-

Out of 101 respondents, 91.1% of people like all type of movies and rest
don’t like all type of movies

Data Interpretation:-

The Above Data shows that nearly 9% of people have specific taste in
genre they prefer for watching a movie.

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20. How does customer buy the product?

Data Analysis:-

Out of 101 respondents, 78.2% of buy the product online, 15.8% buy
through telebooking and rest buy by person.

Data Interpretation:-

The Above Data shows that nearly majority of people buy the product
through online.

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5. FINDING, SUGGESTIONS &CONCLUSION

Finding of Study

 On the basis of this survey, it was found that the maximum number of people are
aware about PVR Cinemas

 It was found that the respondents have mixed responses when they were asked
about do they like watching movies. Some of them said that they do like watching
movies as it allows one to spend time with their family, spouses, childrens even
having a busy schedules. Mostly youngsters like watching movies.

 It was found that almost all respondents use to visit PVR Cinema At least once in
a month for watching movies except the few which indicates the popularity of
PVR Cinemas.

 It was observed that most of respondents prefer PVR Cinemas for watching
movies except some of them who prefer other theatre.

 It was found that almost all respondents are satisfied with the services provided by
PVR Cinemas.

 Almost more than 50% respondents have annual income more than 2 lakhs per
annum. Which shows the premium positioning of PVR Cinemas.

 Also it was found that respondents consider PVR Cinemas as a best Theatre for
watching movies because of its Premiumness and best service provided by its
staff.

 It was observed that the respondents are fully satisfied with the PVR Cinemas
Staff’s courteousrness, Grooming, Efficiency & knowledge & they are also
satisfied with the Cashier Interaction, Cashier speed, Customer service desk &
Loyalty program of PVR cinemas.

 It was considered that the respondents feel PVR Cinemas is the full source of
entertainment.

 Luxurious Auditorium, Concierge Services, Pre or post movies Dining Experience

& Gourmet Offering are the features of PVR Cinemas.

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 It was also considered that watching movies at PVR Cinemas is the status symbol
due to its premium positioning at Market.

 When it comes to the price of the PVR Cinemas, Some considered as high as some
some are worth the experience.

 Also every respondents considered the services at PVR Cinemas as of Superior

Quality.

 The Feature that Attracts respondents is the 3-waysurround sound system and the
seating & Projection arrangements at PVR Cinemas.

Suggestions

 When PVR came into being it was in the forefront of the technology involved in
the entertainment business. Now there is much more related to technological
innovations so PVR should get more advanced in the technological aspects just
like adlabs & IMAX Theatre has introduce.

 Many of the people think that the service provided inside do not command the
charge for example. Even the first two rows of Audi charges 150/- most people
feel that the lesser price should be charged as sitting too close to the screen can
harm the eyes than sitting in one of the back rows.

 Also the prices charge at the snacks & beverages counter are too high than its MRP
which we feel that is undue premium that is charges.

 Some responses from the respondents were that they feel that the spaces between
the rows are very less that makes them feel uncomfortable after some time.

 We as a group also feel that the introduction of the food court has variety of
offering & Snacks but wholesome meal also should be great improve the
movie going experience as people would spend more time at the theatre and the
food court could work as an ancillary to the theatre.

 Once the movie is past its prime and running in the second & third week were
sales were low, PVR Could arrange the campaigns and reduce the prices
marginally per show a day.

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 This would encourage people to have more experience specially for people who
think about high prices.

 Cricket is the obsession in India, PVR could arrange Hot screens and avail to show
the live matches of IPL, world cup, one day matches etc.the growing popularity of
soccer tennis may also get tapped. This would be the very instant hit even at high
prices charged.

Conclusion

Purpose of conducting the survey is to fulfil the objectives. In This study of

“marketing strategy of PVR Cinemas”, is influencing the consumer decision to visit
Multiplex. The various objectives is been fulfilled by using questionnaire method.
Getting it filled by 100 respondents and finally concluding & Analysing the results.

After analysing the results it is found that marketing strategies of PVR Cinemas
places an important role in influencing the decision making of the consumer.
According to the results efforts made by PVR Cinemas for gaining consumer
satisfaction is worth applicable. Their effectiveness can be conquered by market
growth & market share in multiplex industry. They make every possible efforts to
maintain their position in the market. PVR Cinemas does not believe in the
philosophy of sit & relax. They keep on introducing something new stuffs that helps
them to maintain the consumer satisfaction & Consume retention. They have also
maintained their position in the market as a leader. Therefore whatever is been done by
PVR Cinemas is adding to their popularity and maintain their position in the market.
Also this analysis has shown that the multiplex industry is growing in todays
generation as a big source of entertainment. They want everything in one roof that
makes them popular and symbol of premiumness amongst all multiplexes in India.

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APPENDIX
1. Age?
 15-25
 25-35
 35-45
 45-55
 55-65

2. How often you go for watching movies?

 Once in a month
 Twice in a month
 Thrice in a month
 More than three months

3. Which theatre you mostly prefer for watching movies?

 PVR
 Multiplex
 Fame
 Other

4. How much money do you spend on watching movie?

 150-200
 200-250
 250-300
 More than 300

5. Are you satisfied with the services provided by PVR cinemas?

 Yes
 No

6. How would you rate the following in PVR cinemas?

 Cashier interaction
 Customer service desk
 Cashier speed
 Loyalty programme

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7. How would you rate the following qualities of PVR cinemas staff?
 Courteousness
 Knowledge and efficiency

8. How would you rate the services provided by PVR cinemas?

 Good
 Ok
 Satisfied
 Not satisfied

9. Your movie experience at PVR cinemas?

 Good
 Ok
 Satisfied
 Not satisfied

10. Have you ever made a birthday booking at PVR cinemas?

 Yes
 No

11. If yes, how was your experience?

 Good
 Ok
 Satisfied
 Not satisfied

12. What comes in your mind when you think about PVR cinema?
 Price
 Premiumness
 Good services
 Others

13. Would you like to visit PVR cinemas again?

 Yes
 No

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14. Rate PVR cinema

 1
 2
 3
 4
 5

15. Which of the following categories of multiplex are you aware of?
 PVR cinema
 INOX
 WAVES
 Big cinema

16. How did you come to know about PVR cinema?

 Online Advetisem
 Word of mouth
 Billboards
 Website

17. Which of the following marketing strategies are used by PVR cinema?

 Promotional offers
 Online booking
 Free trials
 Online contest

18. In the last 30 days, how many times have you visited PVR cinema?

 Never
 Once
 Twice
 Thrice
 More than 3 times

19. Do you like watching all types of movies?

 Yes
 No

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20. How does customer buy the product?

 Online
 Telebooking
 In person

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Webliography

 https://en.wikipedia.org/wiki/PVR_Cinemas http://www.pvrcinemas.com

 https://en.wikipedia.org/wiki/Entertainment_industry_in_India

 http://articles.economictimes.indiatimes.com/keyword/pvr-cinemas

 https://docs.google.com/forms/d/13e1d1YQRouqkoaWES-
KfGrS5gQvBbXZVle0m8tSCtZ0/edit

 http://www.gecapital.in/case-study-pvr.html

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