Understanding the Medium: Comprehensive Study of Television in India

This comprehensive note explores the evolution, characteristics, and production aspects of
television in India, tracing its journey from an experimental educational tool to a dominant
mass communication medium. The study examines Doordarshan's foundational role, the
distinctive features that make television a powerful medium, the diverse programming formats
that have emerged, and the systematic stages involved in television programme production,
providing graduating students with essential knowledge for understanding India's television
landscape.

Brief Historical Background of Television in India

The Genesis of Indian Television (1959-1965)

Television in India commenced its journey on September 15, 1959, when Doordarshan was
introduced as an experimental service in Delhi. This modest beginning featured a makeshift
studio, a low power transmitter, and only 21 community television sets. Initially operated as
part of All India Radio services, the early programming was limited to broadcasts twice a week
for just one hour daily, focusing on community health, citizens' duties and rights, and other
socially relevant subjects.

The experimental phase was supported by UNESCO, which recognized television's potential
as an educational tool for developing nations. UNESCO contributed $20,000 and 180 Philips
TV sets to establish the foundation of India's first broadcasting network. The primary objective
during this period was not entertainment but education, with content specifically designed for
school children and farmers to aid national development.

Regular daily transmission commenced in 1965 with the introduction of a five-minute news
bulletin, marking the beginning of television as a source of current affairs and news for Indian
audiences. Pratima Puri became the first newsreader, establishing a tradition that would evolve
significantly over the decades.

Expansion and National Coverage (1965-1982)

The period from 1965 to 1982 witnessed gradual expansion of television services across major
Indian cities. In 1972, television services were extended to Mumbai, marking the beginning of
multi-city coverage. By 1975, television stations had been established in Calcutta, Chennai,
Srinagar, Amritsar, and Lucknow, expanding the geographical reach to seven cities.

A significant milestone occurred during 1975-76 with the implementation of the Satellite
Instructional Television Experiment (SITE). This groundbreaking initiative brought
television programmes to 2,400 villages in the most inaccessible and least developed areas
through a satellite lent to India for one year. SITE demonstrated television's potential for rural
education and development, emphasizing its role in nation-building and reaching remote
populations.

On April 1, 1976, television services were officially separated from All India Radio, with
Doordarshan being delinked from AIR and establishing itself as an independent entity. This
separation allowed television to chart its own course and cater to the specific needs of its
audience. The commercialization of television began on January 1, 1976, when commercial
advertisements were introduced, marking the beginning of television's revenue generation and
paving the way for increased investment in content and infrastructure.

The Color Television Revolution and National Broadcasting (1982-1990s)

The transformation of Indian television reached a crucial juncture in 1982 with the introduction
of national telecasts (DD National) and color television. Color television was introduced with
the live telecast of Prime Minister Indira Gandhi's Independence Day speech on August 15,
1982, followed by the color broadcast of the 1982 Asian Games held in Delhi. This period
marked television's evolution from a regional service to a national broadcaster.

In 1984, Doordarshan evolved into a structured television network with the sole TV channel
being split into DD-1 (nationally broadcast channel) and DD-2 (city-focused channel). These
were later rebranded as DD National and DD Metro in 1993 to compete with the emerging
privatized television industry. By this time, Doordarshan had established itself as one of India's
largest broadcasting organizations in terms of studio and transmitter infrastructure.

The Era of Private Television and Cable Networks (1990s-2000s)

The late 1980s and early 1990s witnessed the emergence of private television in India,
fundamentally altering the broadcasting landscape. The demand for more entertainment options
beyond government-owned Doordarshan led to the growth of video cassette recorder sales and
enterprising individuals offering cable TV connections in apartment blocks. Initially restricted
to major metros and affluent society segments, private television offered Hindi and English
movies, western comedies, music, and game shows.

The Gulf War in 1990 served as a catalyst for satellite television expansion, with CNN's
coverage sparking demand for satellite dishes. The launch of Star TV and Zee TV further
enhanced cable television's spread, with household penetration growing from 412,000 urban
households in January 1992 to 1.2 million by November 1992, and subsequently to 7.3 million
by January 1994.

This period marked the end of Doordarshan's monopoly and the beginning of a competitive
television environment that would reshape Indian entertainment and information consumption
patterns.

Characteristics and Importance of Television

Fundamental Characteristics of Television as a Medium

Television possesses several distinctive characteristics that distinguish it from other mass
media forms and contribute to its effectiveness as a communication medium.

Audio-Visual Medium: The most significant characteristic of television is its ability to

combine sound and sight, making it a powerful audio-visual medium. Unlike radio, which
relies solely on aural ability, television integrates visual quality with audio content, creating
more impactful messages for viewers. This audio-visual character allows audiences to "watch
the world from their drawing rooms," creating vivid impressions that lead to emotional
involvement and making television images more memorable.

Domestic and Intimate Medium: Television functions as a domestic medium, providing

entertainment and information within the comfort of homes without requiring audiences to visit
theaters or purchase tickets. This domestic nature makes television an integral part of everyday
life, capable of patterning daily activities and family routines. The intimate character of
television creates a sense of closeness between viewers and the medium, with television
anchors addressing audiences directly rather than maintaining the impersonal tone found in
newspapers.

Live Medium: Television's capacity to function as a live medium enables it to transmit visuals
and information almost instantaneously. This characteristic makes television ideal for
broadcasting live events, sports matches, and breaking news, allowing viewers to witness
events occurring thousands of miles away in real-time. The live nature of television enhances
its credibility and immediacy as an information source.

Mass Medium with Wide Reach: Television serves as an effective mass medium capable of
reaching large, diverse audiences simultaneously. This characteristic is particularly valuable in
a country like India, where significant portions of the population may lack literacy skills.
Television transcends educational barriers, making information accessible to all segments of
society regardless of their reading abilities.

Technical and Production Characteristics

Fidelity and Reproduction Quality: Television possesses the unique ability to reproduce
events in their exact form while such events are unfolding. This fidelity ensures accurate
representation of live events, enhancing viewer trust and engagement with the medium.

Transportability and Accessibility: Modern television technology, including smart TVs and
streaming services, has enhanced the medium's transportability and accessibility. The
convergence with digital media has created multi-platform experiences, extending television's
reach through social media, websites, and mobile applications.

Transitory Nature: Television content is generally transitory, meaning programs are broadcast
at specific times and may not be immediately accessible afterward. However, digital recording
and streaming technologies have modified this characteristic, allowing for time-shifted viewing
and on-demand access.

Cultural and Social Importance

Educational and Informational Function: Television serves as a significant source of

education and knowledge through documentaries, information programs, and educational
content. It provides insights into nature, environment, political events, and various subjects that
contribute to audience learning and awareness. School television programs, introduced in India
in 1961, demonstrated television's educational potential.

Cultural Integration and Social Cohesion: Television plays a crucial role in shaping Indian
culture and promoting national integration. During Doordarshan's early years, programming
was heavily influenced by nation-building ideals, creating content that promoted unity in newly
independent India. Television exposes viewers to different cultures, traditions, and
perspectives, fostering cultural understanding and social awareness.

Political and Democratic Participation: Television significantly impacts political processes

and democratic participation. During election periods, political discussions, speeches, and
campaign news are broadcast extensively, with political parties purchasing television time to
present their views and reach audiences. This function enhances democratic engagement and
informed citizenship.

Entertainment and Leisure: Television provides diverse entertainment options, from fictional
programs like soap operas and sitcoms to reality shows and sports broadcasts. Sports
programming attracts some of television's largest audiences, with broadcasters paying
substantial amounts for major sporting events like the Olympics and cricket matches.

Economic and Commercial Significance

Television has evolved into a commercially lucrative medium with significant economic
impact. The introduction of advertising in 1976 transformed television from a purely
educational tool into a revenue-generating platform. Television stations invest enormous
amounts in sports broadcasting rights, entertainment content, and news coverage, creating
substantial economic activity within the media industry.

The medium's cost-effectiveness in reaching large audiences makes it an efficient platform for
mass communication, with relatively low cost per viewer despite high production expenses.
This economic efficiency has contributed to television's growth as an advertising platform and
entertainment industry cornerstone.

Various Formats of TV Programmes

Classification Framework

Television programmes can be broadly classified into two major categories: fictional and non-
fictional programmes, each serving distinct purposes and employing different production
approaches.

Fictional Programmes

Fictional programmes are based on stories, novels, or creative works, utilizing imagination and
creative storytelling to engage audiences.

Serials: Long-running programmes featuring continuous storylines with recurring characters,

typically broadcast weekly or daily. Indian television has produced numerous successful
serials, including epic adaptations of the Ramayana and Mahabharata that gained massive
popularity during Doordarshan era. These programmes often focus on family dynamics, social
issues, and cultural themes relevant to Indian society.

Soap Operas: Dramatic serial programmes that typically focus on personal relationships,
family conflicts, and emotional situations. Indian soap operas have become a significant part
of television programming, often addressing social issues while providing entertainment.

Sitcoms (Situation Comedies): Comedy programmes featuring recurring characters in

consistent settings, designed to entertain through humor and light-hearted situations. These
programmes typically run for 30-minute episodes and rely on character-driven humor.

Series: Programmes featuring the same main characters but with changing stories in each
episode. Unlike serials, series episodes are often self-contained while maintaining character
continuity across episodes.

Telefilms: Made-for-television movies that are specifically produced for broadcast rather than
theatrical release. These programmes typically feature complete stories within a single
broadcast timeframe.
Animation and Cartoon Shows: Programmes utilizing animated characters and storylines,
often targeted at children but increasingly appealing to broader audiences. These programmes
combine entertainment with educational content, particularly for younger viewers.

Comedy Shows: Entertainment programmes focused primarily on humor, including stand-up

comedy, sketch comedy, and variety shows. These programmes serve purely entertainment
purposes and often feature guest appearances and audience participation.

Non-Fictional Programmes

Non-fictional programmes depict reality and are based on actual events, facts, and real-world
information.

News Programming: The most common non-fictional programme format, including news
bulletins, breaking news coverage, and comprehensive news analysis. Indian television news
has evolved from Doordarshan's five-minute bulletins to 24-hour news channels providing
continuous coverage of current events.

News-Related Programmes: Extended formats that analyze and discuss news events,
including talk shows, panel discussions, and expert analysis programmes. These programmes
provide deeper context and multiple perspectives on current affairs.

Documentaries: In-depth programmes that explore specific topics, issues, or subjects through
factual presentation and analysis. Documentaries serve educational purposes and often address
social, environmental, scientific, or historical topics relevant to Indian audiences.

Reality Shows: Programmes featuring real people in unscripted situations, competitions, or

lifestyle scenarios. Reality television has gained significant popularity in Indian television,
including talent competitions, lifestyle shows, and competition-based programmes.

Interview Programmes: Formats featuring conversations between hosts and guests, including
political figures, celebrities, experts, or ordinary citizens. These programmes provide platforms
for information sharing and public discourse.
Discussion and Debate Programmes: Formats that bring together multiple participants to
discuss current issues, policies, or topics of public interest. These programmes encourage
democratic dialogue and diverse viewpoint expression.

Vox Pop (Voice of the People): Programmes featuring public opinion collection through street
interviews and citizen responses to current issues. This format provides grassroots perspectives
on various topics.

Specialized Programme Formats

Sports Programmes: Comprehensive coverage of sporting events, including live broadcasts,

analysis, and sports-related news. Indian television has invested heavily in cricket coverage,
field hockey, and other sports popular with Indian audiences.

Audience Participation Programmes: Interactive formats that involve viewer participation

through phone calls, text messages, or studio audiences. These programmes create engagement
between broadcasters and audiences.

Cookery Shows: Specialized programmes focusing on food preparation, cooking techniques,

and culinary culture. These programmes often incorporate cultural elements and regional
cuisines relevant to Indian audiences.

Concerts and Award Shows: Special event programming featuring musical performances,
award ceremonies, and entertainment industry celebrations. These programmes often showcase
Indian cinema, music, and cultural achievements.

Special Programmes: Occasional broadcasts addressing specific events, festivals, or

significant occasions. Indian television frequently produces special programmes for national
holidays, religious festivals, and cultural celebrations.

Educational and Agricultural Programming

Educational Programmes: Content specifically designed for learning purposes, including

school television programmes, adult education, and skill development content. The "Krishi
Darshan" programme, which debuted on January 26, 1967, is considered Indian television's
longest-running programme and focuses on agricultural education.

Agricultural and Rural Development Programmes: Specialized content addressing farming

techniques, rural development, and agricultural innovation. DD Kisan, Doordarshan's
agricultural channel, represents dedicated programming for this sector.

Stages of Programme Production

Overview of Production Process

Television programme production is a systematic process that can be divided into three major
stages: pre-production, production, and post-production. Each stage involves specific tasks,
personnel, and equipment requirements that contribute to the final programme quality and
effectiveness.

Pre-Production Stage

Pre-production encompasses all activities undertaken before entering the studio or reaching the
shooting location. This foundational stage determines the programme's eventual success and
requires careful planning and coordination.

Idea Generation and Concept Development: The production process begins with idea
generation, where programme concepts are developed, refined, and evaluated for feasibility.
This stage involves identifying target audiences, programme objectives, and content themes
that align with broadcaster requirements and audience expectations.

Research and Content Planning: Comprehensive research forms the backbone of effective
programme production. Research activities include gathering background information,
verifying facts, identifying interview subjects, and collecting supporting materials necessary
for programme development. This stage is particularly crucial for non-fictional programmes
where accuracy and credibility are paramount.
Scripting and Storyboard Development: Script writing involves creating detailed
programme outlines, dialogue, and scene descriptions. For fictional programmes, scripts
include character development, plot progression, and dialogue. Non-fictional programmes
require structured outlines, question preparation, and content organization. Storyboard creation
helps visualize programme flow and camera requirements.

Cast and Crew Coordination: Pre-production involves coordinating with all personnel
involved in programme creation, including actors, presenters, technical crew, and production
assistants. This coordination ensures everyone understands their roles, schedules, and
programme requirements.

Equipment and Resource Arrangement: Technical preparation includes arranging cameras,

lighting equipment, audio recording devices, video tapes, and other necessary production tools.
Location scouting, studio booking, and equipment testing occur during this stage to prevent
technical issues during production.

Logistics and Scheduling: Detailed scheduling coordinates all production activities, including
shooting schedules, location bookings, equipment availability, and personnel coordination.
Effective scheduling optimizes resource utilization and ensures smooth production workflow.

Production Stage

The production stage involves actual content capture through filming or recording. This stage
requires coordination of all pre-production planning and real-time problem-solving
capabilities.

Studio or Location Setup: Production begins with setting up equipment, lighting

arrangements, and audio systems according to programme requirements. Camera positioning,
sound checks, and lighting adjustments ensure optimal recording conditions.

Rehearsal and Preparation: Before final recording, rehearsals help identify potential issues
and ensure all participants understand their roles. Technical rehearsals test equipment
functionality and help crew members coordinate their activities effectively.
Content Recording: The actual filming or recording process captures programme content
according to planned scripts and storyboards. Directors guide talent and crew to ensure
programme vision is accurately executed, while technical crew manages equipment and
monitors recording quality.

Real-Time Problem Solving: Production requires immediate responses to technical issues,

scheduling changes, or unexpected circumstances. Production teams must adapt quickly while
maintaining programme quality and meeting broadcast deadlines.

Quality Control and Monitoring: Continuous monitoring during production ensures

technical standards are maintained and content meets programme objectives. Sound quality,
visual clarity, and performance standards are monitored throughout the recording process.

Post-Production Stage

Post-production transforms raw recorded material into the final programme ready for
broadcast. This stage often determines the programme's final quality and audience appeal.

Video Editing and Assembly: Raw footage is reviewed, selected, and arranged in appropriate
sequences according to programme structure. Video editing involves cutting recorded material
to appropriate lengths, removing unwanted content, and creating smooth transitions between
scenes.

Audio Processing: Sound recording, music integration, and audio enhancement occur during
post-production. Commentary recording, background music addition, and sound effect
integration enhance programme quality and audience engagement.

Visual Enhancement: Post-production includes adding visual effects, text captions, graphics,
and other visual elements that support programme content. Color correction, visual transitions,
and graphic integration improve programme presentation quality.

Final Assembly and Review: All programme elements are combined into the final version
ready for broadcast. Quality review ensures technical standards are met and content aligns with
programme objectives and broadcast requirements.
Technical Compliance: Final programmes must meet broadcast technical standards including
audio levels, video quality, and duration requirements. Technical review ensures programmes
are compatible with transmission systems and regulatory requirements.

Production Flow Chart

TELEVISION PROGRAMME PRODUCTION FLOW

PRE-PRODUCTION STAGE
├── Idea Generation
├── Research & Planning
├── Script & Storyboard Development
├── Crew Coordination
├── Equipment Arrangement
└── Scheduling & Budgeting

PRODUCTION STAGE
├── Setup & Rehearsal
├── Content Recording
├── Quality Monitoring
└── Problem Resolution

POST-PRODUCTION STAGE
├── Video Editing
├── Audio Processing
├── Visual Enhancement
├── Final Assembly
└── Technical Review

BROADCAST READY PROGRAMME

Conclusion

The evolution of television in India represents a remarkable transformation from an

experimental educational tool to a dominant mass communication medium that has
fundamentally shaped Indian society and culture. Beginning with Doordarshan's modest launch
in 1959, Indian television has progressed through distinct phases of development, from
government-controlled educational broadcasting to the current era of diverse, competitive
programming that serves millions of viewers across the nation.

The unique characteristics of television as an audio-visual, domestic, live, and mass medium
have established its significance in Indian society, enabling it to serve multiple functions
including education, entertainment, information dissemination, and cultural integration. The
medium's ability to combine sight and sound while reaching audiences in their homes has made
it an indispensable part of daily life for Indian families.

The diverse programme formats that have emerged demonstrate television's versatility in
addressing varied audience needs through fictional and non-fictional content, from traditional
serials and documentaries to modern reality shows and specialized programming. The
systematic approach to programme production, involving pre-production planning, production
execution, and post-production refinement, ensures quality content creation that meets
professional standards and audience expectations.