When Netflix removed Nayanthara-starrer Annapoorani under pressure from Hindu right-wing groups, many Indian OTT subscribers wished for a platform that could shrug off such threats. C-Space, an OTT platform proposed to be launched by the government of Kerala, may not be the answer, but, hopefully, it won’t bend to pressures from non-State actors.
What spurred Kerala to become the first state in India to launch an OTT platform? It wasn’t the Annapoorani episode. The plan to launch an OTT platform was first discussed two years ago, after the Covid-19 pandemic, when such services were garnering wide attention. Malayalam movies on streaming platforms had also been receiving acknowledgement globally around the time. Richard Brody, a film critic for The New Yorker, reviewed the Fahadh Faasil-starrer Joji, which had an OTT premiere in 2021. Also, many regional language streaming services were being launched; these followed the rent-per-view and subscription models. Many have lost their sheen since. But now, it seems, the viewership for many Malayalam web series is distributed across the country.
The state government is perhaps motivated more by its penchant for developing alternatives, be it in governance or easing access to OTT content. Or it could have in mind the interests of the Malayali diaspora. The pravasi (expatriate) Malayali remains a prime factor for the Kerala government, as many of its decisions indicate. It also assures revenue — the question of a viable model for self-sustenance is critical to the durability of any OTT platform.
C-Space will showcase a wide array of movies, from classics to independent movies and documentaries. Kerala has a vibrant film-society culture, and the vibe for world and art-house movies is reflected in the genuine enthusiasm for international film festivals in the state. Many such festivals are now held even in remote locations, with the International Film Festival of Kerala being the benchmark. There is a specific set of audiences interested in independent movies screened online. There is also a theatre-going audience who may not be able to afford the monthly subscription rates of OTT streaming services. The Kerala government, therefore, wants to offer an affordable platform to viewers. The OTT will be an independent platform with a specific revenue model but need not be swayed by the vagaries of the market.
Another reason for launching a “public sector” OTT is that it can overcome social censorship that has been determining what can be streamed and what can’t. OTT players have succumbed to the pressures of communal groups, and have ended up withdrawing movies and web series that such groups say “hurt sentiments”— an Indian euphemism for social censorship. At the same time, some OTTs are promoting propaganda content. Clearly, OTTs are a contested space now.
The Union government recently introduced a revised Cable Television Act that would bring OTTs under its ambit. Its stringent provisions could rob the charm of unregulated content on OTTs. C-Space, however, should provide avenues for independent content while resisting any temptation to showcase propaganda movies. Doing this, it can increase its viewership base and remain open to an international audience. Restoration and re-mastering of old movies has become a trend. A large repository of classic Indian and world movies could also get it a large number of subscribers. Artistic merit should be the main criteria for inclusion in C-Space’s library. The platform does not have to function in the mode of legacy OTTs; rather, it should be different, in terms of new content, curated content, master classes, and independent artistic productions.
The question facing a public enterprise OTT start-up is, without doubt, sustainability, even if profitability is set aside for the moment. C-Space has to compete with existing players that are still struggling to evolve a viable model, years after their launch. The Kerala government is also launching the OTT at a time when the state is suffering from many economic woes and has overcome its earlier obsession with public enterprise. To remain sustainable, a revenue stream based on subscription and content rentals must prop up government support. The purchase of movies needs to be streamlined with an institutional and transparent method. Kerala has a model of public investment in film-making in the Kerala Film Development Corporation. Like many other public enterprises in the state, overstaffing can also wreck its prospects. Given these issues, the state government must take a measured approach in deciding the management structure and providing for functional autonomy.
There is always the possibility that a State-owned OTT can exclude the movies that are critical of the state government. For instance, the Malayalam movie 2018, which was about the heroism of the people involved in rescue operations during the flood, was criticised for minimising the role of the state government in the relief work. The platform needs to be envisioned as a public OTT rather than government owned. Given the tendencies in governance in these times, this may remain wishful thinking.
Damodar Prasad is a media researcher and writer. The views expressed are personal
Free speech on OTT: A Kerala model for films
10
1
19.02.2024
When Netflix removed Nayanthara-starrer Annapoorani under pressure from Hindu right-wing groups, many Indian OTT subscribers wished for a platform that could shrug off such threats. C-Space, an OTT platform proposed to be launched by the government of Kerala, may not be the answer, but, hopefully, it won’t bend to pressures from non-State actors.
What spurred Kerala to become the first state in India to launch an OTT platform? It wasn’t the Annapoorani episode. The plan to launch an OTT platform was first discussed two years ago, after the Covid-19 pandemic, when such services were garnering wide attention. Malayalam movies on streaming platforms had also been receiving acknowledgement globally around the time. Richard Brody, a film critic for The New Yorker, reviewed the Fahadh Faasil-starrer Joji, which had an OTT premiere in 2021. Also, many regional language streaming services were being launched; these followed the rent-per-view and subscription models. Many have lost their sheen since. But now, it seems, the viewership for many Malayalam web series is distributed across the country.
The state government is perhaps motivated more by its penchant for developing alternatives, be it in governance or easing access to OTT content. Or it could have in mind the interests of the Malayali diaspora.........
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