The paper aims to closely examine the policy shifts and compromises on the production of entertainment programmes in the public broadcaster Doordarshan Malayalam when faced with competitive and entertaining content posed by private television channels during the 1990s in Kerala. In the latter half of the twentieth century, cinema emerged as the predominant form of popular visual culture in Kerala. Though there had been other forms of popular entertainment like ganamela, professional and amateur theatre, mimicry, kadhaprasangam, etc., cinema held sway in Kerala’s visual culture during this period. While cinemagoing had already become a popular cultural practice before the spread of television, the positioning of television in people’s living rooms and the viewing of films and recorded stage programmes borrowed from friends or video libraries made the experience of visual narratives more affordable and accessible. Watching cinema on television increased the frequency of engagement with visual culture as opposed to the weekly or even less frequent practice of cinemagoing. But a phenomenal turn of events began with the launch of the state-run Doordarshan channel, especially with the Malayalam centre making an entry in the mid-1980s. Doordarshan Malayalam soon became a presence in most households, effecting a quotidian engagement with visual narratives in various formats. The engagement escalated with the launch of private channels like Asianet and Surya during the 1990s. It was the launch of general entertainment channels that persuaded the public broadcaster to rethink its programme policies and make compromises in the production of entertainment programmes.

Authors:
Athul Augustine, Indian Institute of Science Education and Research, India

About the Presenter(s)
Mr Athul Augustine is a University Doctoral Student at Indian Institute of Science Education and Research (IISER), Bhopal in India

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