Award-winning animated short, ‘The Orchestra’ makes online debut

Award-winning Australian short film, The Orchestra makes an online debut. Released in 2015, the film is directed by Mikey Hill, with the hand-animated piece, set in a world where tiny musical accompanists follow folks, playing the soundtrack of each person’s life — and introduces Vernon, a lonesome elderly man who always seems to strike the wrong note.

The Orchestra was co-written by Jennifer Smith and Jamie Messenger, with Melanie Brunt of Feather Films as the producer. The short was developed and financed with the assistance of Screen Australia.

The Orchestra, has won many awards including Yoram Gross Award for Best Australian Short Animation from FlickerFest, the Bruce Corwin Award for Best Animated Short at Santa Barbara, Best International Short from TAAFI, the Children’s Award from GLAS, and qualified for 2016 Academy Awards consideration.

This is the third hand-animated short by Hill, following Norbert (2007) and The Not-So-Great Eugene Green (2009). He is currently working on an animated documentary short about Laika, the Soviet space dog who was the first animal to orbit the Earth, in between freelancing, travelling and climate activism.

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‘Tokyo Godfathers’ gets a new English dub cast

GKIDS has announced the English voice cast for the critically-acclaimed animated feature Tokyo Godfathers.
Directed by Satoshi Kon (Perfect Blue, Paprika), Tokyo Godfathers follows the story of three homeless characters during the holiday season as they attempt to figure out what to do when they find a newborn baby. As they try to find the baby’s mother, they undergo a series of misunderstandings and life or death scenarios that made the anime a classic tale, sitting among some of the medium’s best films.

The English language dubbed version of Tokyo Godfathers will feature the voices of Jon Avner (Just Cause 3), Victoria Grace (Mirai) and Shakina Nayfack (Transparent, Difficult People), and was produced by GKIDS and NYAV Post.

Co-written by Keiko Nobumoto (Cowboy Bebop), Tokyo Godfathers will feature a whimsical score by Keiichi Suzuki, Fathom Events will be playing the new dubbed version as part of a special event on 11 March with a screening of the subbed version to be released on 9 March.

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Hyderabad unveils IMAGE Centre of Excellence for AVGC industry

Hyderabad was one of the first cities to start animation along with Mumbai, Chennai and Thiruvananthapuram a few years ago and slowly it has expanded to VFX, Gaming and all others. It is one of the fastest-growing AVGC industry in India. Following the route in becoming the hub of AVGC excellence Government of Telangana, Telangana VFX, Animation and Gaming Association (TVAGA) has launched IMAGE Centre of Excellence (CoE) in animation, visual effects, gaming, CV and AI along with Software Technology Parks of India (STPI), an autonomous society under the Ministry of Electronics and Information Technology (MeitY), Government of India, today (17 February 2020).

 In conversation with AnimationXpress STPI, Hyderabad, director C. V. D. Ram Prasad shares, “The IMAGE CoE will nurture and support start-ups in gaming, animation, VFX, computer vision and AI Space through the strong support and participation by the Industry leaders and domain experts providing strategy guidance, domain knowledge, technology mentoring thereby supporting innovation to develop the entrepreneurship ecosystem.”

CoE is positioned as an apex institute excellence and will lead in providing skills-based educational programming that integrates theory with application, preparing students for global careers in art foundation, digital and technical fields. Apart from that, “The CoE will provide access to the required infrastructure and labs to start-ups for development and validation of solution, from design to prototyping. STPI will establish the CoE by collaborating with Hyderabad Software Enterprises Association (HYSEA) and TVAGA with active support from MeitY, Government of Telangana, IIIT – Hyderabad, TiE – Hyderabad, Hyderabad Angels and Industry. The CoE will run accelerated start-up programmes for the start-ups being selected through monthly/quarterly/half-yearly events,” added Prasad.

It has been in discussion that the Telangana government is aiming to set up IMAGE Tower which will not only help Indian studios but even foreign ones to come together and create unique content. With the launch of IMAGE CoE, Hyderabad will be a step closure to the circuit of IMAGE tower formation and regulation.

STPI-IMAGE also signed MoU with five partners TVAGA (Telangana VFX, Animation and Gaming Association), Hyderabad Angels, HYSEA, IIIT- Hyderabad, and TiE Hyderabad with an objective to nurture and promote start-ups and budding entrepreneurs by offering resources like mentoring, technology support, infrastructure like Plug & Play Incubation, Mocap, CVAI labs and funding.

The 10000 Sq ft, IMAGE-CoE, inside the existing STPI facility targets to incubate up to 25-30 start-ups per year for the next five years. A total investment of 19. 68 Cr shall be spent over a period of five years for the CoE in addition to existing infrastructure in the STPI facility.

The start-ups will be mentored by a group of accomplished industry and academic pioneers, led by the Chief Mentor and aided by a strong Governing Council (GC) & Project Management Group (PMG) consisting of top technology industrialists, investors and academicians.

Benefits to Start-ups

Applications to get on board in the CoE is open and closes on 31 March, 2020. The start-ups will undergo various levels of evaluation before selection. On selection, they will be assisted with a seed fund of Rs. 5 lakhs after due diligence by the PMG. This fund will be released to start-ups during the structured accelerated program, at regular intervals, based on achieving set milestones.

In the first year, 20 start-ups will be chosen for on boarding this program. Each start-up will be given access to best-in-class infrastructure and R & D lab facilities, for development and validation of solution from design to prototyping to democratise innovation, including the newly set up first of its kind Motion Capture Lab. They will also be provided access to funding, mentorship, and marketing.

Industries & Commerce (I&C) and Information Technology (IT)  principal secretary Jayesh Ranjan said, “Hyderabad is fast emerging as the best global destination for Gaming and AI landscape. That’s one key reason we believe STPI chose to set up its CoE in Hyderabad, and as partners, we are fully committed to this initiative. We have a strong eco-system, as the city of Hyderabad hosts established world-leading-gaming companies, global scale events such as IndiaJoy, The India Game Developers Conference (IGDC) plus India’s biggest IMAGE towers readying to open in Hyderabad.”

Stating that Hyderabad was a natural choice to set up the IMAGE CoE due to its inherent industry strengths, STPI director-general Omkar Rai, expressed, “The CoE will bring a paradigm shift in revving up research and innovation in Gaming, VFX, Computer Vision & AI through a robust ecosystem in collaboration with tech partners, industry, investors, industry associations and government, and will bolster indigenous product development while propelling the growth of tech entrepreneurship in the country. By collaborating with industry associations, academia, and angels, we have ensured the IMAGE incubation model is built on a solid foundation to realising our mission to build world-class gaming, Animation and Deep Tech providers to the world.”

“Setting up STPI-IMAGE CoE is great news for the Gaming sector, especially startups as they now have access to game development, funding, foster strategic partnerships with game development companies and global gaming publishers, TVAGA will play an active role in promoting the gaming sector and support IMAGE mission .” TVAGA president, and Green Gold Animation founder and CEO Rajiv Chilaka.

Congratulating Software Technology Parks of India, Hyderabad, for setting up the Centre of Excellence in animation and gaming as well as in computer vision and AI,  IMAGE CoE chief mentor and  Qualcomm India VP Engineering Shashi Reddy, in his address said, “Hyderabad has a lot of animation and gaming companies, and the industry has been maturing over the years. This is a great opportunity for new start-ups to build, nurture innovation at STPI-IMAGE and accelerate the growth of gaming and animation in the city.”

“I am really excited about the future, as the new computer vision and AI at CoE will propel deep learning techniques and help grow the CV and AI areas, as well as augment new Startup,” Shashi added.

Highly Value Partnerships

IMAGE is a collaboration between industry associations, academia, and angels, the model is built on a solid groundwork.

TVAGA will lend support in funding game development start-ups and fostering strategic partnerships between game development start-ups and global gaming publishers. In addition, TVAGA will be sponsoring Gamelab related resources such as cloud and advertising credits for gaming start-ups being accelerated at CoE.

HYSEA will help provide seed funding, strategy guidance, market access besides helping the start-ups on matters related to product definition. On their part, Hyderabad Angels will provide strategy, mentoring, and help to raise funds for the start-ups. IIIT-H: will extend technology mentoring support.

The State Government will aid in strengthening the CoE goals with industry-friendly IMAGE policies and may also consider providing grant-in-aid to meritorious start-ups.

Gaming Industry’s Market Potential

Year 2020 will see social interactive gaming and esports become mainstream. India ranks fifth among the world’s top mobile gaming markets and is expected to move to the top three in the next three years. Mobile gaming is anticipated to be a $105bn opportunity by 2023 and outpace China which is estimated to be at $73bn. From 2mn gamers in 2016 to 100mn gamers by the end of 2019, the momentum will likely continue.

The average gamer spends 60 mins on mobile games with OTT platforms seeing 45 mins spent. Add to the fanatic user engagement is the repetitive behaviour where 40 per cent of men and 35 per cent of women play mobile games at least five days a week in India.

60 per cent of online gamers are in the 18 to24 age bracket who want to make quick money and also don’t hesitate to spend. Tencent’s PUBG makes a mind-boggling $7MM a month from India.

 

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One Take Media Co. (OTMC) enters into the space of martial arts movies

Martial arts films, which are also colloquially known as Karate or Kung Fu films, are a subgenre of action films that feature numerous martial arts fights between characters. These fights are usually the films’ primary appeal and entertainment value, and often are a method of storytelling and character expression and development. 

Martial Arts are in demand across the world, and the fondness for such content is not just limited to the fans of Hollywood or Bollywood. Even the world of kids Animation has left an evergreen mark on us. Every kid today would be familiar with titles such as Kung Fu Warriors or Kung Fu Panda.

Looking at this fondness for Martial Arts and realising the existence of a huge gap in the demand and supply of Martial Arts Content, OTMC has entered into this space as well. OTMC has recently acquired a long list of famous titles in this space. Few famous names included in the Martial Art library of OTMC are The Death of Enchanters, Iron Fan, Power Game, Changan Swordsmen and many more.

One Take Media Co. director Dimpy Khera said, “Today the audiences are passionate and selective in terms of what they want to watch. We as a content provider need to be up to date and be ready with all the varieties to cater to the growing niche market. Acquiring Martial Arts Movies was one such decision to take a step forward in filling the gap and we are very confident about it because Action always works.”

One Take Media Co. already has a huge library of Hollywood Movies available in English, Hindi and nine Indian Regional languages, spread across different genres. But currently OTMC’s focus is mainly on Action, Thriller, Mystery, Horror and Sci- Fi Movies. Action Movies are very well appreciated among the masses. Action movies irrespective of any age, class and geography are welcomed by the Indian audience. One such category in the family of Action films are Martial Arts movies.

One Take Media Co. has more than 10000+ hours of content and covers almost all the genres. It has a varied range of content involving Hollywood Movies, Kids content, Cooking Content, Korean series and many more. OTMC is determined to strengthen its library even more by entering into all the major gaps found in the content industry.

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Snapchat launches new game ‘Color Galaxy’

Color Galaxy, a new game featuring Bitmoji has come to Snap Games and is available now.

Developed by Gismart, the game  allows Snapchatters to invoke their inner galactic conquerer, in a fast-paced multiplayer game.

“We’re thrilled to join the Snap Games platform and introduce players to the whimsical, customizable worlds of Color Galaxy. Tapping into Snap’s social features like Bitmoji avatars, Snippets, and augmented reality Lenses make it even easier for Snapchatters to connect with their friends and share fun moments from the game. A gaming experience like this can only come to life on Snapchat, and we can’t wait to see the response from Snapchatters worldwide,” said  Gismart VP of business development and marketing Lana Meisak.

In the game, Snapchatters compete for the most territory by driving cool custom cars or perhaps a chicken — and as the game incorporates your Bitmoji into the game, Snapchatters can easily spot their friends driving around. Get friends together and keep moving to conquer space!

“Snap Games is all about sharing experiences with your friends, even when you can’t be together. Colour Galaxy is a brilliant example of this, letting friends conquer the galaxy, with or against each other, directly from chat. “We’re excited to bring this fun, fast-paced, and competitive new game to our Snapchat community,” said John Imah, Snap’s Head of Games Partnerships.

In a race for half the map, Snapchatters draw lines to close their colour loop and expand their territory, but beware; while you can cross an opponent’s line to take their life, you need to be careful to protect your own line or you will be the one seeing Game Over.

There are no in-game purchases, but successful games will result in a reward of coins that can be redeemed for new personalization options including new vehicles, territory colours or sound effects.

 

 

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WonTolla Comix to release second edition of ‘Sleepsutra’ soon

WonTolla Comix’s first edition of Sleepsutra resonated with a large number of people, with the comic artist Chaitanya Modak getting messages from readers who  told him that it has helped them overcome sleep apnea to people who have identified with sleep patterns and incidences in the book congratulating him over depicting it exactly as it happens.

Considering the positive response and love for sleep from various generations, Modak now is bringing to the readers a collection of 48 sleeps!

The sleeps from the first edition were more individualistic and personal. The primary experience of the hero moving from the awake state, to dream, to deep sleep and the experience of samadhi (bliss) was explored. It partly dealt with the idea of being with a lover or a spouse.

The second edition of Sleepsutra moves deeper into this relationship. Our hero is now a husband and a father. It begins with the ‘womb sleep’. It encompasses the idea of family with sleeps like ‘parallel sleep’ where children always end up sleeping perpendicular to their parents. ‘Lap sleep’ of falling asleep in the comfortable lap of your parents. It visits ‘sleepovers’ with cousins and friends. Of communal sleeping together as tribes and army regiments. Of disciplined and forced sleeps inside prisons and using sleeping pills. It comes full circle moving from the individual to society.

Sleepsutra is an outcome of a solo creator, Modak himself. A project that started as an assignment in his college days at National Institute of Design, way back in 2005 made its entry as a published comic with Sleepsutra’s first edition in 2018. “Over the years, I kept making notes and sketches on the topic and now it has grown to encompass 48 sleeps,” mentioned Modak.

Modak, who was a part of the illustrators offline residency at TIFA, Pune last year, approached the challenge by making the book come alive as an experience. A viewing room was converted into a dreamlike space with lowlights, scent diffusers and mattresses visitors could lie down on. Seven sleeps were animated with text and sound. People came in to relax and talk over hot chai and the ambient sound. They loved it!

Modak added  that participating in comic fests has increased the visibility of the comic. It was exhibited at Indie Comix Fest, Gaysi Zine bazaar, Bombay Zine Fest and recently at Sharjah Art Book Fair in UAE.

The book is hardbound and has a smooth satin finish, with every page of a certain weight and thickness to emulate the feel of the ancient Indian palm leaftexts. Modak is planning to launch the unique yet very much relatable Sleepsutra by early June 2020. 

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‘Sonic the Hedgehog’ hauls $57 million over weekend

Sonic the Hedgehog burst into theatres over the weekend, hauling in an estimated $57 million Friday through Sunday domestically, the highest opening of any video game movie adaption in film industry history.

The record domestic debut was much higher than the $35 million to $45 million that analysts had projected. When the trailer for Paramount‘s new release first hit the Internet, it was met with widespread criticism, mostly due to its less-than-faithful depiction of the titular character, which enraged many diehard fans. Surprisingly, the studio took the comments seriously and the CGI team managed to create new animations for the speedster after a short three-month delay to the release date, which subsequently earned the Internet’s support back, and now, it seems Paramount had made the right call.

The CGI blue speedster had a different facial look in the movie’s original trailer which led to an uproar online. Sonic’s four-day estimate gives Paramount its best opening weekend since Mission: Impossible – Fallout from the summer of 2018. Terminator: Dark Fate was the distributor’s biggest opener of 2019, pulling just $29 million.

In the past, Hollywood has had trouble transitioning video game characters from their consoles to cinemas. Only three adaptations have garnered “Fresh” ratings on Rotten Tomatoes and none of them have garnered more than $500 million worldwide.

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Studio of the Week | Plexus Motion

Vijesh Rajan and Yashoda Parthasarthy

Name : Plexus Motion

About : Run by director duo Vijesh Rajan and Yashoda Parthasarthy, Plexus studio specialising in leading edge Visual Effects (VFX), seasoned Animation and carefully crafted Title Sequence Design. Plexus was initially conceived as a cloud based studio, as the permanent members were only two of them. They came up with a cloud-based pipeline for working with over 50 Indian and international freelance artists of various specialisations to meet their client’s animation and VFX requirements.

Location : Mumbai

Projects : Sacred Games (title sequence), Smoke (title sequence), Gangs of Wasseypur (title sequence), Angry Indian Goddesses (title sequence), Ok Kanmani (title sequence), Ghoul (VFX + title sequence), Leila (VFX), Gustaakh (animated short film – concept, direction and VFX), Ok Jaanu (title sequence), Mirzapur (title sequence), Detective Byomkesh Bakshy (Promo Packaging)

1. What are the current trends you’re seeing in the Indian Animation space?

The current Indian Animation space looks very promising. Not only are there several independent studios coming up with very talented teams, even mainstream feature films and series is embracing animation as an integral medium of story telling. Lately, Netflix’s Ghost Stories used 2D animation very effectively in their title sequence. But what’s great is that it’s not just commercial avenues where you see animation being used.

We loved that 2D animated short films like Death of a Father and Wade are being independently produced in India, bringing a very fresh and youthful perspective to short fiction narratives. Lamput (Cartoon Network) and Andy Pirki (Pogo) are great examples of how global the quality of Indian animation is. We were even brimming with happiness to hear about Punyakoti – the world’s first Sanskrit feature length animated film, which was again independently produced. So you can see that when it comes to original content, the independent studios are clearly leading the way. We hope that theatrical film financers and production houses also start seeing the real power of animation storytelling and support the animation industry by financing more animation rooted ideas.

With the OTT boom bringing international subscription based video platforms like Netflix, Amazon Prime Video and others, we really hope to see more original animated content from India. That’s why Plexus has taken it upon itself to develop original content with two series and one feature film currently in the pipeline with a special emphasis on VFX and animation based storytelling.

2. What are the challenges in this ecosystem?

Animation is never taken seriously as a storytelling device. It’s always brushed off as “just for kids”. This thought process has been quite damaging to our industry and has been responsible for pushing our skilled artists behind by almost a decade. Disney, which is currently the biggest studio in the world, started off with traditional cell animation-based feature presentations. Back when they just started out, they were only making content for children – but as the years passed, they realized that their audience is much bigger – and they came to understand the universal appeal of creating animated content. Just like live action filmmaking with actors on location, animation is just a device of storytelling – but unlike live action storytelling, animation is not restricted with the rules of shooting with real people – there is no real physics, no gravity – no rules. So you can push the limits of visual storytelling literally as far as your mind bends – and in the process, create a much stronger emotional impact on the audience. But this understanding and approach only comes from exposure and learning – which is sadly lacking among the filmmakers in India.

Also due to the lack of precedents, producers are often surprised by the budget requirements for creating any form of animated content. This mainly forms the second biggest challenge in our industry – sustainability. Even if production houses are brave enough to think of using animation in their productions, they don’t understand how much work goes into building each frame of animation – how many people are involved and how much time it takes – so they most often only have half or quarter the budget that is actually needed to accomplish the animated sequence. Scheduling and timelines are also often quite unrealistic, due to which the quality of animation / motion design suffers a lot.

3. What’s one message you’d like to share with the aspiring enthusiasts?

We would like to tell all enthusiasts to not give up and try and arrive at their own unique style. There is a serious dearth of good artists while there is an equally high demand for motion design. When Plexus started, we had decided to create our own niche and do stylized unique title sequence which would enable us to flex our creative muscles. At that point of time Netflix, Amazon and other OTT platforms hadn’t started to India. Yet with our persistence, we were able to create a niche of designing animated, conceptual title sequences for films – and it paid off well because we were the first to be approached when the OTT boom happened. I would also suggest younger artists to be a little selective about the projects that they do as it helps to distinguish them from the rest of the crowd. Many artists also don’t focus enough on the need for a good pipeline, but having a strong foundation/ pipeline while working as a professional really stands out. There will be good days and bad days and being in a creative field means that the challenges that one faces with every project is often unpredictable. So having a very professional approach and having a strong foundation helps in the long run while dealing with these challenges.

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‘Please’, Indian animated music video on sexual abuse, nominated at the Oregon Short Film Festival 2020

There goes hardly a day when we don’t get to hear about any incident or news about violence against women. According to the National Family Health Survey (NFHS-4) released by the Union health ministry, every three women out of 10, has faced violence of various forms in India since the age of 15.

In times when talks and writings about women empowerment is sky-high, women are facing visible and invisible forms of violence till date. Often ‘objectified’ or ‘thingified’, women are treated as ‘playthings’ in most cases. Thankfully, that scenario is getting better for good, but it’s yet to normalise in a broader sense. Several content is being created around the topic in various mediums, including music and animation.

Music video, Please, which uses stop-motion animation to depict the condition of a sexually abused woman. This animated short film, created by animator Naveen Kiran Boktapa, has been nominated for the Oregon Short Film Festival 2020, to be held on 19 February. Also, recently it was selected for the Mumbai International Film Festival (MIFF) 2020 in the best film category. 

The video features The Majolly Music Trust founder-trustee Neecia Majolly, who’s an acclaimed singer, songwriter and celebrated pianist based out of Bengaluru. She is seen singing while the animated frames portray the position of women. Majolly has also been vocal about several issues of concern like ivory poaching in the past.

“When Majolly approached me with her song, Please, I asked her if she wants a subtle treatment for the video or very straight forward. She said it should be very direct, disturbing, loud and clear. After listening to the song, some visuals flashed in my mind. I translated them into a rough storyboard and shared it with her. She loved it and we started the project. The idea was to show the dark misogyny in the society. How every section of the society is wired with it. And how the society becomes insensible and numb towards the sufferings and feeling of a sexually abused victim. So we decided to represent the exploiters as hynas or wolves and to create the environment with news paper articles about sexual abuse and crime,” shared Boktapa with Animation Xpress.

Naveen Kiran Boktapa

Please has a powerful impact with its sharp lyrics and strong visuals which are quite disturbing and makes one infuriated.  Boktapa’s animated work for Please is vaguely inspired from Jan Svankmajer’s Dimensions of Dialogue and took him three months to complete. It was published on YouTube in 2019. 

Added Boktapa on the animation style, “It’s not like the technique or visuals are inspired from Dimensions of Dialogue, but the feeling of the movie. It’s very subconscious, I can’t explain it in words. To get a  very rustic and disturbing feeling, I decided to use stop motion as the technique. The character Armatures were created using aluminium wires and were shot on a green screen. Dragon Frame is a wonderful software to shoot stop motion animation. It makes the process very easy, while the sets and environments were created digitally using After Effects.”

Majolly and Boktapa knew each other since 2015, when The Majolly Project came into existence and both of them came across each other’s craft. She had a wonderful experience working with him and gave him complete freedom to execute their ideation of the animation. “I just gave him a brief about the song, Please and what was it about, rest he did it himself. Because I had no idea about animation and left it entirely to him and the result is the brilliant animation you see in the video. It’s been a pleasure working with him even in Connection,  another music video. It’s great to work with someone who understands your thoughts and what you need clearly. I hope to work with him in the future too.”

Coming from a tribal nondescript Sumnam village in Lahaul and Spiti district, Boktapa was a student of IIT Bombay and trained under industry veterans and professors like Phani Tetali. Defeating his barriers and shortcomings, Boktapa has come a long way to tell wonderful and necessary stories through animation. He also worked on 9post-production) DigiCon6 Asia award winning animated short film, Death of a Father, by Somnath Pal. Recently, he also shared the stage with national and international stalwarts like Eeksaurus founder and director Suresh Eriyat and Academy award winner animator Michael Dudok de Wit at MIFF 2020. 

Please have got positive responses and feedback from the audience and industry experts alike. Though he didn’t win the award, the film brought him some name and a good break. 

“My experience in MIFF was overwhelming. It was my first time at any film festival. I met so many young passionate film makers as well as seasoned industry experts. Meeting and sDe Wit and other legends like Eriyat, Dhvani Desai, Pencho Kunjev in a panel discussion were the best moments. I also got to watch so many amazing films from across the world, in animation and non-animation medium, it was so inspiring,” he exclaimed.

The message is very clear in the lyrics and animation, about sexual abuse happening with everyone irrespective of age and sex the women and children and even with the men. Sexual abuse is a serious crime in our society and through the video, it’s an appeal to treat each other like human beings.

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Unilever stops advertising for food and beverages to kids below 12 years

Unilever has announced to be discontinuing all marketing and advertising initiatives of its food and beverage brands which are primarily targeted to children.

The company will not market the products to children under the age of 12 across traditional media channels, and below the age of 13 on social media and digital media channels, and plans to take execute this decision by the end of 2020.

Any form of marketing and advertising will not be permitted to any brands owned by Unilever. They won’t have any celebrities, influencers or social media stars who have the power to influence children. As per Unilever’s blog post, a limitation will also be imposed on the use of cartoon characters too, though some characters will be featured across point-of-sale materials, like certain selected products that quality a specific nutritional profile.

Unilever’s decision came after the World Health Organisation (WHO) announced childhood obesity as a matter of concern and one of the most serious public health issues of the 21st century. According to their blog post, Unilever wants to help parents and children make wise and informed decisions while buying and consuming food and beverages.

The implementation of this plan will be led by Unilever’s ice cream business as children are the main TG for ice creams. It’s expected that this decision will hit the business.

Unilever’s Wall’s – the name behind brands such as ‘Max’, ‘Paddle Pop’, ‘Twister’ along with others, will adopt a unique brand promise – “Responsibly made for kids” and will be based on principles of – responsibly communicated, responsibly developed and responsibly sold.

While these developments were announced, there has been no word from Hindustan Unilever (HUL). Industry people are of opinion that if it implies, it’s going to affect the media and advertising sectors as HUL is one of the biggest advertisers in the country.

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