Nielsam TAM ratings.

Television has rapidly become an important medium of communication, information and entertainment. This has led to an expansion in its reach and the channels being televised. Therefore, in a world of cutthroat competition and innovative programming, making an informed decision about the audience’s viewing habits does help in staying a few steps ahead of the competition.

This requirement brought about the need for specialised market research. TAM (Television Audience Measurement) is thus used for gauging how well a particular programme is being received.

What are they?

TAM Media Research is a joint collaboration between Nielsen Company and Kantar Media Research. Presently, it is headed by Mr.  L. V. Krishnan, C.E.O. and Mr. Pradeep Hejmadi, Senior Vice President.

As stated by http://www.tamindia.com/tamindia/Company_Profile.htm:

“Appointed by the Industry stakeholders of ISA (Indian Society of Advertisers), IBF (Indian Broadcast Foundation) and AAAI (Advertising Agencies Association of India) in 1998, the raison d’être for TAM (Television Audience Measurement) is to be the central Industry provider of Media and Consumer Insights to the various stakeholders of the Indian Media and Entertainment Industry - Advertisers & Marketers, Media Owners, Media Agencies and the Academia.”

As of now, TAM is the only electronic rating agency in India. It is the central figure of authority where TV viewership is concerned. TAM casts a wide net, covering all towns and cities with a population of more than a lakh, and semi rural towns with a population of less than a lakh. Its sample panel consists of 36,000 individuals from across 165 cities and towns, covering about 8, 150 homes which have a television set!

How are they measured?

In 2006, TAM had initiated a study on the future of Digital Television, something which was a first of its kind. After that, since 2007, TAM is responsible for measuring and reporting on the TV viewership data “for Terrestrial TV Homes, Cable & Satellite TV Homes and the Digital TV Homes.” (Information courtesy: http://www.tamindia.com/tamindia/Company_Profile.htm)

For the purpose of measuring the audience viewership, TAM Media Research makes use of the TVM5 peoplemeter.

The Nielsen peoplemeters are a state-of-the-art technology, known for their accuracy and detail which has surpassed all the previous forms of alternative measurements that have been used.

The audience viewership is measured in the following steps:

·         The Establishment Survey: This survey is conducted to determine the characteristics of the audience watching a particular programme, keeping the social and demographic features in mind. Thus, it provides Nielsen a database of the target households where the peoplemeter is to be installed.

·         The Panel: This is the statistical sample of the target audience to be measured. A Nielsen technician installs the peoplemeter in these houses, which is determined by the establishment survey.

·         The Peoplemeter: Peoplemeters are installed in every house in the panel. Each meter is capable of measuring the television viewing activity of every member of the house, for every different television set in the house. This meter, then transmits all the stored data to a production centre, through the household television/cellular line.

·         The Polling: The entire process, where the date is transferred from the peoplemeters to the production centre, by means of a television/cellular line is called polling.

What are they used for?

The TAM system, as mentioned above is used for quantifying and qualifying the audience information and channelising it towards market research. While measuring the viewership in the broadcast medium, one rating point is taken as one percent viewing out of the population group being monitored.

The responsibility of the TAM system is to provide an accurate reading of all the houses included in the panel and determine effectively the ratings and viewership of each of the channels. It is imperative for a TAM system to be not just reliable, but also to be a source of unbiased data and to be transparent i.e. open for any kind of  inspection or auditing.

It is important to note, however, that TAM is used for measuring not only the television viewership garnered by a programme, but also for a variety of reason such as advertising expenditure of various advertisers, brand and product categories as well as print and radio, through its division, known as AdEx India.

Why are they important?

The ratings, measured by the peoplemeter and considered to be accurate, help the broadcasters gauge the popularity of a particular programme and charge the advertisers accordingly. The TAM Media Research comprises of the S-group, which is a specialist strategy group which has pioneered in the field of broadcast management. The S-group has been set-up to derive a better understanding of consumption trends and, through systematic research aims to increase the viewership by effectively catering to the target audience’s needs.

The Top 5 TV channels

The top 5 television channels today, are:

·         Star Plus

·         Colors

·         Zee TV

·         Sony

·         Imagine TV

Top 5 programmes in India

·         Iss Pyaar Ko Kya Naam Doon? (Star Plus)

·         Geet Hui Sabsi Parayi (Star One)

·         Bigg Boss 5 (Colors)

·         Ek Hazaaron Mein Meri Behna Hain (Star Plus)

·         Hitler Didi (Zee TV)

What are the limitations of TAM?

TAM is criticised for the following reasons:

·         Lack of accuracy: Although TAM measures the viewership of a particular programme, it does not cover the duration of the viewership. Therefore, if a viewer watches a particular television show for not more than a minute, the rating point is awarded for the entire duration of that show, not just for the one minute.

·         Sample size: TAM has been criticised for the sample size of the panel. The panel is not considered to be all-encompassing, when it comes to the entire population of the country. It is for this reason that the more discerning audience feels that they have not been taken into consideration, while formulating concepts for new shows.

·         Lack of timeliness: TAM takes a week to report the television rating points of shows. Its competitor aMap makes the data available on a daily basis for its clients, unlike the weekly ratings given by TAM. In a dynamic media environment, it thus becomes imperative for TAM to deliver on time, and toe the line with its competitors.

CONCLUSION

Through this project, one can come to realize that although TAM is a pioneer in the technology of calculating ratings, having won accolades at various International Research and Communications seminars, most notably the ESOMAR – Asia Pacific Conference in Shanghai & WAM Conference in Geneva in 2004. The project acquaints the reader with the functioning of the TAM, and the process involved in calculating the ratings of each programme. However, no system is infallible. TAM also has its own set of limitations that it needs to overcome. That said, media and market research is here to stay. And as long as there is an expansion of media enterprises in the country, there will always be a requirement for technology like TAM to assess the various market segments.

BIBLIOGRAPHY

·         Nielsen TAM product : Peoplemeter - http://www.agbnielsen.net/products/peoplemeter.asp

·         TAM Glossary - http://www.agbnielsen.net/glossary/glossaryQ.asp?type=alpha&jump=none

·         Top 5 programme ratings - http://www.india-forums.com/forum_posts.asp?TID=2350015

·         Top TV channels of India - http://celewood.com/2011/07/top-3-tv-channels-of-india/

·         4P Business and Marketing - http://www.4psbusinessandmarketing.com/16062011/storyd.asp?sid=4631&pageno=1

·         What is TRP? - http://in.answers.yahoo.com/question/index?qid=20060923181119AA9jnPz

·         TRP Ratings from 18/09/2011 to 24/09/2011 - http://oceansgroups.webs.com/apps/forums/topics/show/6233065-trp-ratings-from-18-09-2011-to-24-09-2011

Understanding Cinema: Comparative Narrative Analysis of Citizen Kane and Rashomon.

If cinema were an infinite road, stretching on to eternity, Rashomon and Citizen Kane would be significant milestones one would discover along the way. Both had redefined the narrative style of story-telling with path-breaking technique, riveting storylines and memorable performances.

Released in a gap of nine years, both films were recipients of Academy Awards (Citizen Kane for Best Writing, Original Screenplay; Rashomon for Best Film in Foreign Category).

Citizen Kane (1941) follows the dramatic rise and fall of media moghul, Charles Foster Kane, from a humble beginning in Colorado, to one of idealistic (initially) service at The Inquirer newspaper, to an unsuccessful foray into politics. Kane dies alone in the end, uncared for and isolated from the world. His self-created Utopia – Xanadu remains an emblem of his life – towering, ostentatious and incomplete.

Rashomon (1950) traces the aftermath of a rape and murder from the perspective of the perpetrator and the victims.  A young wife is raped by the bandit Tajômaru in the presence of her samurai husband, who is tied to a tree. The husband is later murdered. The gravity of the crime(s) may not change, but the versions of all involved certainly do.

Having briefly understood the storyline of both the films, we shall now endeavour to examine the most salient features that propelled these celluloid tales to cult status.

THE ANALYSIS

§  The framing and core narrative: In simple terms, the framing narrative comprises of those sequences which take place outside the main story, whereas the core narrative consists of scenes which are the main plot in itself.

Ø Citizen Kane: Citizen Kane’s framing narrative features the long drawn search by a generally anonymous journalist named Thompson. He interviews the key characters who were closely associated with Kane. It is their reminisces that take the audience to the core narrative featuring Charles Foster Kane.

The overall narrative of Citizen Kane is the journey of a reporter as he tries to unravel the mystery behind Kane’s last word – “Rosebud.” It depicts the different relationship Kane had with each character, while also dealing with their perception of him.

Ø Rashomon: The track of the Woodcutter, Listener and Priest discussing the horrific incident forms the framing narrative of the story. The courtyard scenes where the characters give their testimony and the varying nature of the incident itself (a flashback within a flashback) forms the core narrative of the plot.

Rashomon has an aura of mystery like Citizen Kane, but its core narrative deals with finding the truth behind a crime, than a particular person.

§  Editing:

Ø Citizen Kane: It makes extensive use of dissolves, long-shots, fading, and super-imposition for appropriate dramatic effect. Some examples of memorable editing from the film are as follows:

o   The opening sequence: The silhouetted quietude of the opening montage, right from the upward pan to the “No Trespassing” sign to the dissolves leading to the foreboding interiors of his room contrasts with the abrupt beginning and end of the New on the March newsreel. The viewer is then abruptly jerked into a projection room, dimly lit by the outlines of men. This opening sets the mood of the film, invariably preparing the audience for the somber atmosphere that was to follow.

o   The flashbacks: Every recollection of the character leads to a dissolve into their memory of that time. Especially the scene where the page of Thatcher’s memoir dissolves from an unclear haze to a snowy wilderness, which perfectly captures the barren isolation of his childhood.

o   The breakfast scene: Leland’s description of Kane’s marriage leads to a reference cut (in a dissolve) to Kane and Emily at the breakfast table. The scene shows their marital discord through a series of innovative cuts. It begins with the newly married couple in wedded bliss. The camera spins in a fast flick pan which results in a change of costume, background score, implying a passage of time. The music now gets more discordant as the scene progresses, ending only with Emily reading The Chronicle at the farthest end of the table.

o   The super-imposition of headlines and stage performances: One of the most memorable visuals in the film is the super-imposition of laudatory newspaper headlines (The Inquirer’s), Susan’s performances and the flickering light bulb.

o   The climax: The climax denotes the end of the story after it comes in a full circle. The camera pans out of the mansion, and down the fence to the formidable “No Trespassing” sign. It dissolves to the smoke coming out of the chimney, a profound metaphor to what eventually became of his life.

Ø Rashomon:

o   Opening sequence: The film opens with The Woodcutter and Priest taking shelter from the rain at the Rashomon Gate. Before the entry of The Listener, there is a deathly silence in the scene. There is very little camera movement in the scene, with the emphasis mostly on the downpour and the grim expressions of both the protagonists.

o   The Woodcutter’s walk: What could have otherwise been a long drawn sequence is edited to sustain the interest of the audience. Various tracking shots of the sun gleaming through the trees, of The Woodcutter (with frequent close-ups of the back of his head; his axe) are interspersed with long shots of him walking through the forest. This clearly establishes the setting. The brevity of each shot illustrates a sense of pace and ominousness.

o   The fight sequence: There is a great sense of pace conveyed through the fight sequence because of the brief cutting in the bandit’s version. Because the men are reluctant to fight in The Woodcutter’s version, the cutting is invariably slower, and the camera movements more static.

o   Change of sequence: Kurosawa makes use of wipes to switch between a character’s narration of the incident in the courtyard to the actual event itself. The wipe was also used to switch between two testimonies like between The Woodcutter and The Priest.

o   The ending sequence: Kurosawa uses the dissolve towards the end, when The Listener leaves the shelter of the Rashomon Gate. The camera dissolves from a long shot to a mid-shot to a close shot of the shocked Priest and Woodcutter. The dissolve beautifully emphasizes the silence of the moment and the collective horror.

§  Composition:

Ø Citizen Kane:

o   Deep focus: Citizen Kane is known to be one of the earliest films to use “deep focus” framing. In such framing, the characters in the foreground and background are both clear and in focus, unlike conventional shots where either one of the characters in blurred or out of focus.

o   Lighting: The opening sequence is the best example of lighting in Citizen Kane. From the darkness of Kane’s bedside to the stark News on the March newsreel to the dim projection room, to Thatcher’s library, to the opera house (and so on), each change in the same location provides a dramatic change of visual.

o   Camera placement: Citizen Kane makes use of innovative camera angles to emphasise a particular relationship between the characters. This is most prominent in the upward camera perspective from Kane’s POV when he looks up at Mr. Thatcher as a child, and in Susan’s POV when she looks at Kane.

It is also placed in such a way that the character in the foreground has a dominating presence over the character in the background. Both camera angles denote a sense of inferiority from the perspective of the character looking up. The camera is also kept at a slant in certain scenes, hence breaking away from the conventional shot taking.

Ø Rashomon:

o   Lighting: The film uses natural light which filters through the foliage. It adds that extra dimension in the drama because of the play in light and shadows, leading to a more haunting effect in the grove. The lighting is stark in the courtyard, as if a metaphor for the austere atmosphere of the court. The cloudy gloom of the Rashomon Gate is also captured beautifully in the opening titles.

o   Camera placement: Kurosawa uses a lot of over-the-shoulder shots, more notably in the grove sequences. There are also shots taken of each character with a deliberate repetition to emphasise the triangular relationship between them. There are also uses of track and pan shots in this sequence (especially when the bandit menacingly circles the samurai).

In the courtyard scene, the camera is placed at an eye level before the parties involved to represent the perspective of the judge, and also of the audience.

§  Dialogue and sound:

Ø Citizen Kane: The dialogue remains with the viewer long after the film is over. There are many lines inside the film which are ironic (“You know, Mr. Bernstein, if I hadn't been very rich, I might have been a really great man”), tragic (“Old age. It's the only disease, Mr. Thompson, that you don't look forward to being cured of.”) and quotable (“To love on my terms. Those are the only terms anybody knows ...  his own.”).

It is the most integral part of Citizen Kane, aiding greatly in the pace and establishing of the characters. This is most notably conveyed through the News on the March opening, Kane’s takeover of the staff of The Chronicle among other key flashback sequences.

The background score for the film was composed by Bernard Herrmann, earning itself an Oscar nomination for Best Music. Along with dialogue, the background score effectively dramatised the proceedings in the film, adapting to suit the changing tone of the story.

Ø Rashomon: Akira Kurosawa’s fascination for the era of silent films is evident by the absence of dialogue in Rashomon. The emphasis is more on close-ups, the ambience of express the gravity of the situation.

However, the use of “Bolero” (Maurice Ravel) in the soundtrack of Fumio Hayasaka cannot be ignored.

§  Symbolism:

Ø Citizen Kane:

o   Xanadu: The forlorn, isolated manor is a symbol of the man himself. It represents the hollowness, the lack of meaning behind frivolous décor and the myth of the American dream. The expansiveness of the manor effectively implies the physical distance between Kane and Susan.

o   “Rosebud” and the snow globe: The sled “Rosebud” and the snow globe stand for the innocence of a childhood lost. When the globe shatters on Kane’s demise and the sled is destroyed in the fire, it signifies an end to that which linked him to his childhood.

o   Statues: The statues in Kane’s office (and later Xanadu) show his need to control the people around him. The more his isolation increases, the greater number of statues he collects. Kane possesses a strange desire to impulsively purchase statues (most unopened), as they, unlike human beings fill the echoing spaces in Xanadu, without clamouring for his attention.

Ø Rashomon:

o   The Rashomon Gate: The Rashomon Gate stands as a symbol of culture and civilization which has been ravaged by the mists of time and the portentous rain. When The Listener desecrates the remains of the gate to create a fire, it shows that even a symbol of culture can be defiled during times of strife.

o   The rain: The rain is a symbol of darkness and gloom. It is aptly depicts the disturbed era the main protagonists are living through.

o   The medium: The medium who conveys the testimony of the dead samurai to the court, adds a metaphysical dimension to the story.

o   The courtyard: Its stark and white surroundings stand for truth as the court wants it – in a kind of cold bluntness.

§  Theme:

Ø Citizen Kane: It deals with the theme of avariciousness, wealth, the relentless pursuit of power and love. Above all, it denounces the myth of the great American dream – the futile search for material happiness. For affluence cannot buy you love.

Ø Rashomon: Rashomon deals not just with the relativity of truth but also the self-image a person creates of oneself. Every character narrates a version which holds him/her in higher stead than the rest of the characters. It raises a disturbing question about the ultimate reality – does it really exist?

CONCLUSION

 This project covers the most salient narrative techniques of both films. However, the remarkable contribution of Rashomon and Citizen Kane to the world of cinema renders the analysis in this project to be woefully inadequate. Nevertheless, the project has initiated a broader perspective on both films, and a greater receptivity regarding the various interpretations offered to those who seek it. Despite being unique for their time, admired and vilified in equal measure (Citizen Kane more specifically), the films lived on to create history and remain a reference point for filmmakers and students of media alike, where aesthetic story-telling is concerned.

BIBLIOGRAPHY

1.     Forward @ 50: My two page Rashomon paper -http://forwardatfifty.blogspot.com/2011/01/my-two-page-rashomon-paper.html

2.     Spark Notes: Citizen Kane - http://www.sparknotes.com/film/citizenkane/themes.html

3.     A Short History of the Movies: Gerald Mast

4.     Wikipedia: (i) http://en.wikipedia.org/wiki/Citizen_Kane

(ii) http://en.wikipedia.org/wiki/Rashomon_(film)

5.     Movie Rapture: http://www.movierapture.com/rashomon.htm

Lux: product history and trajectory.

The FMCG (fast moving consumer goods) market is highly competitive, one that is rife with the advent of newer brands being introduced. In a capitalist set-up, there begins a system of hard sell and introduction of more innovative products to boost sales and garner a larger consumer base. Advertising is a major player in the arena of marketing. For this, it becomes essential to understand the purpose behind the launch of a product, its various utilities and the trajectory it has mapped in the market.

The soap selected for the study is the globally acclaimed Lux, a product owned by Unilever. In India, Lux is owned by Hindustan Unilever, an offshoot of its Anglo-Dutch counterpart and one of India’s largest FMCG companies. In this project, Lux shall be examined only from the perspective of the Indian market.

A luxurious brand, touted as the ‘beauty soap of the film stars,’ Lux has been a consistent ubiquitous part of the Indian household and one of India’s most trusted personal care products. With generation after generation of women sustaining a product in the market, consistent with its former glory, a statistic mentioning that three in every five Indian consumers use Lux may not seem entirely far-fetched.

PRODUCT LAUNCH AND HISTORY

Initially known as “Sunlight Flakes” laundry soap, Lux was established as a domestic brand in the United Kingdom in 1899. It was produced by a British company named Lever Brothers. The company has been founded by two brothers, James and William Hesketh Lever in 1885.

The brothers manufactured the “Sunlight Soap,” the flaked version of which came to be known as Lux.

Lux was rechristened its present name in 1900 and launched in the United States where its sales picked up.

Lux was launched in India, in 1929. The very first Lux advertisement featured actor Leela Chitnis. Its popular slogan was ‘the beauty soap of film stars.’

In order to remain in tandem with the changing fashion trends, Lux changed its colour and packaging from the 1930s to the 1970s. The five principal colours used for Lux in 1958 were pink, white, blue, green and yellow.

It was only in the 1990s that Lux launched its own range of luxury soaps, shower gels, liquid soaps and moisturising bars. At present, Lux is sold in a 100 countries with a turnover of 1.0 billion euros alone in 2005.

REASON FOR LAUNCH

Lux was launched earlier as laundry soap. Gradually, over the years, it has gained immense popularity and recognition as a luxury soap. Its identity became synonymous with the glamorous lifestyle of the movie stars. Lux has pioneered as being one of the first products to be advertised using women as brand ambassadors.

Earlier a product known for its domestic utility, Lux has moved on to skincare and beauty products as part of its present brand image.

THE PARENT COMPANY

Lux was initially manufactured as “Sunlight Flakes” by Lever Brothers. The company gained foothold in the market only after 1916, when it was launched in the United States. Unilever was founded on the first of January in 1930, an amalgamation of Lever Brothers and the Dutch margarine producer Margarine Unie. The founders were Antonius Johannes Jurgens, Samuel van den Bergh and William Hulme Lever, 2nd Viscount Leverhulme.

Hindustan Unilever Limited was known as Hindustan Vanaspati Manufacturing Company Limited when it was first established in 1931, as a subsidiary of Unilever, in India. Further two companies were launched, namely the Lever Brothers India Limited in 1933 and the United Traders Limited (1935). In 1956, all three companies were merged to form Hindustan Unilever Limited.

At present, the company has a 54.3% market share; headed by Harish Manwani (Chairman) and Nitin Paranjpe (C.E.O. and M.D.).

PRODUCT TRAJECTORY

·         Initial stage (1929 – 1950s): When Lux was first launched in 1929; it was introduced only in major Indian cities. It was kept at a comparatively higher price range than its product competitor Lifebuoy for recovering their initial cost of production. The initial Lux advertisements were aimed at ‘the early adopters’ i.e., the consumers who were most willing to buy that product.

·         Growth stage (1950s – 1990s): The pricing was reduced for the purpose of market penetration. There was an increase in the advertising budget for attracting newer consumers. Lux continued its trend of using renowned actors from the mainstream film industry through the decades. Old time magazines like Eve’s Weekly, Star and Style, Femina etc invariably featured the leading heroines of the times as models for Lux. Some of the prominent heroines featured have been Sharmila Tagore, Hema Malini, Zeenat Aman, Juhi Chawla, Madhuri Dixit and Sridevi.

In the 1990s, Lux launched its own range of luxury soaps, shower gels, liquid soaps and moisturising bars.

·         Maturity (1990s – present): As the product gained greater foothold in the market, the price was increased in order to maximise the profit.

The main marketing objective was also to maximise the market share and introduce modifications in the product. This included a new range of products entering the market like Lux Almond, Lux Orchid, Lux Saffron and Lux Sandalwood to name a few.

The brand ambassadors in this stage have been Aishwarya Rai, Kareena Kapoor, Shah Rukh Khan, Katrina Kaif, Priyanka Chopra and Asin.

As of the year 2011, Lux has a recorded profit of 533 crores.

ADVERTISING AND MARKETING STRATEGY

Despite its product modifications which shall be later mentioned, Lux has always marketed itself as a product used by the stars. A common refrain associated with such a promotional strategy says ‘if it is good enough for the stars, it is good enough for me.’ Despite this, Lux was never an entirely elitist product, though it has not embedded itself within the rural consumer segment.

Because Marketing is all encompassing, it shall be examined first, followed by Advertising.

Marketing covers the four main aspects, when it comes to any product that needs to be sold in a market, namely the: product mix, price mix, place mix and promotion mix. The marketing mix of Lux shall be examined from the perspective of the four P’s in marketing.

·         Product mix: The product mix refers to any and every feature related to the tangible commodity to be sold. This part of marketing takes into consideration the ingredients that form a part of the product, the innovations/modifications done in the product, its external appearance, packaging, aroma, utility, colour, logo and the overall visual appeal/easy recall value it serves for its consumers.

Lux has also taken the initiative to introduce product variants like:

o   Lux almond.

o   Lux orchid.

o   Lux fruit.

o   Lux saffron.

o   Lux oil and honey glow.

o   Lux sandalwood.

o   Lux rose.

o   Lux international.

o   Lux chocolate.

o   Lux aromatic extracts.

o   Lux crystal shine.

o   Lux purple lotus and cream.

o   Lux peach and cream.

o   Lux strawberry and cream.

·         Price mix: A sound pricing strategy induces a consumer to purchase a certain product. It proves to be a worthy incentive. In a country of wide economic disparities like India, the price of the product takes precedence over the quality, for the less affluent.

When Lux was launched in 1929, the pricing was kept high so that the product could make up for its manufacturing cost. The prices were later reduced in order to penetrate a greater market segment. As of now, the product pricing is competitive i.e. on par with those of the competitors.

·         Place mix: The place mix refers to not just the distribution channels of a product, but also the geographic location of its availability which greatly affects its accessibility. Lux was earlier sold only in major cities at the time of its launch. Post 1950s, the distribution network continues to be expanded to include smaller towns.

·         Promotion mix: A hoarding on one of the more prominent locations in Mumbai once said, “Doing business without advertising is like winking at a girl in the dark. You know what you’re doing, but she doesn’t.” And thus, promotion seeks to bridge the gap between ignorance and purchase.

The ‘how’ and ‘why’ behind the promotion goes a long way in brand building.

o   As reiterated in this project, Lux was promoted as a product used by film stars. And thus, every major actor has promoted the product. The list included: Leela Chitnis, Madhubala, Nargis, Meena Kumari, Mala Sinha, Sharmila Tagore, Waheeda Rehman, Saira Banu, Hema Malini, Zeenat Aman, Juhi Chawla, Tabu, Madhuri Dixit, Sridevi, Aishwarya Rai, Kareena Kapoor, Priyanka Chopra, Katrina Kaif, Asin and Kajal Agarwal.

o   Although Lux was always advertised as a product meant for indulging the senses, where bathing was a wonderful ritual in itself, it petered down its approach in the recent years. The actors are still shown seen indulging themselves. But the focus also moves towards the ordinary girl in a bid to reach out to its female consumers.

o   A wonderful example of this promotion was the 2005 ‘Mujhme Star Jagaaye’ campaign featuring Aishwarya Rai and Shilpa Anand. The campaign also promoted a Model Hunt that went underway soon after.

o   In 2001, Lux had announced a 22-carat Gold Star offer, wherein a gold coin was hidden inside a bar of soap. The lucky consumers who find the gold coin also have a chance to win an additional 30 grams of gold.

o   In 2004, Lux launched a ‘Lux star bano, Aish karo’ contest where consumers were supposed to buy a promotional pack of Lux and scratch the special scratch card to earn their reward. Prizes varied from living a day in Aishwarya Rai’s life to beauty kits, Neeta Lulla saris among a host of other gift vouchers and well… more Lux soaps to be won.

o   On its completion of 75 years in 2005, Lux roped in Shah Rukh Khan as its first ever male ambassador. The advertisement featured the actor in a bathtub, flanked by his leading ladies – Juhi Chawla, Kareena Kapoor, Sridevi and Hema Malini. It was known as the ‘Har Star Lucky Star’ offer, where every wrapper guaranteed a gift, waiting to be unwrapped.

o   In 2009, Aishwarya Rai and Abhishek Bachchan featured in the new ‘Sone Se Bhi Sona Lage’ campaign. The campaign also conducted a Lux Super Star Offer where the lucky winners get to meet Aishwarya-Abhishek in London. The campaign jingle became so immensely popular that its varied renditions were used in the advertisements that featured Katrina Kaif since 2009.

o   Asin Thottumkal and Kajal Agarwal are the newest brand ambassadors of Lux, modelling together for the “Kya Khoob Ho Tum” advertisement that has been recently released.

o   Lux also relies on market research for making innovative changes by going for door-to-door sampling of a product, once a year, in urban and rural areas. The brand image is firmly and favourably embedded in the psyche of the consumers. The product is also not particularly expensive, which is said to be a ‘winning combination.’

·         Weaknesses: The weaknesses stated for Lux as a brand are as follows:

o   The product lacks unisex appeal.

o   It has been unable to effectively tap the rural market.

o   Lux faces competition from brands like Lifebuoy, Pears, Vivel, Fiama Di Wills, Santoor among others.

·         Some commonly noted recommendations for Lux:

o   Innovations in terms of Ayurvedic variants are recommended.

o   A special offshoot of Lux meant for children, since it has essentially been targeted at a 16-35 year age group.

o   The consumer base in the rural area needs to be expanded upon.

o   The product should appeal to men, without promoting it solely as a product for women.

o   The product can be altered to appeal to the ageing segment of women who form a large segment of consumer base in the present product market and account for many billions of currency for anti-ageing products.

CONCLUSION

The assignment is an educative exploration of one of the most iconic products that has entered the Indian market. The history of the Lux soap has been synonymous with women and beauty down the decades. The brand, ‘Lux’ has been identifiable with women of every generation since the times the product were launched through the media, evolving from the print to audio and visual through the decades. From the earlier sepia-toned photographs of beautiful heroines captured in the pages of women’s magazines and Reader’s Digests to popular advertising in electronic and visual mediums, the brand Lux has pervaded the lives and times of every person. It has successfully transcended the barriers of class and elitism and has occupied center-stage as a product appealing to women of all ages and classes.

Given the present market share of the product as examined in the preceding text, Lux has more than a promising void to fulfill in the coming times. Its continuity and popularity will sustain its consumer base in all coming times. Lux stands out as the soul product by way of a soap that has seen the dawn of two centuries, promising to run its length of continuity for many more to come.

BIBLIOGRAPHY

1. http://www.slideshare.net/monu825/lux-1528621

2. http://www.slideshare.net/KicchaMahesh/luxsoap-091106072915phpapp01?src=related_normal&rel=5287023

3. http://www.scribd.com/doc/30129314/Introduction-to-Lux

4. http://en.wikipedia.org/wiki/Lux_(soap)

5. http://historyofbusiness.blogspot.com/2008/07/history-of-lux-soup.html

6. http://www.unilever.com/aboutus/ourhistory/

7. http://www.hul.co.in/aboutus/ourhistory/

8. http://www.scribd.com/doc/38079063/Product-Life-Cycle-of-Lux-Soap