Do you want to binge-watch iconic mythological shows and reminisce the good old days while you are forced to be at home during the 21-day lockdown period to contain the spread of the Coronavirus pandemic? Here is the great news for you all.
Responding to the demand of the people on social media, India’s public broadcaster Doordarshan has decided to re-run its hugely popular mythological show Ramayan. Created, written and directed by late Ramanand Sagar, the epic television series first aired during 1987-88 and holds the record of being the most watched religious series in the world
The Information and Broadcasting Ministry announced that Ramayan will telecast again from March 28, Saturday. Starting from 28th March, Doordarshan will air two episodes of the 78-epidose series every day. The first episode of Ramayan will air in the morning from 9 am to 10 am, while the second will be aired in the evening from 9 pm to 10 pm.
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Prakash Javadekar, Minister of Information and Broadcasting, took to Twitter to announce the news to the fans and wrote, "Happy to announce that on public demand, we are starting re-telecast of Ramayana from tomorrow, Saturday March 28 on DD National. One episode in morning 9 am to 10 am, another in the evening 9 pm to 10 pm.”
Since India is currently on lockdown due to coronavirus pandemic, there had been a huge demand to re-telecast Ramanand Sagar’s Ramayan and BR Chopra’s Mahabharat. Taking the demand of millions of people into consideration, Doordarshan is finally bringing back Ramayan.
The star cast of Ramayan included Arun Govil, Dipika Chikhlia, Sunil Lahri, Dara Singh, Lalit Pawar and Padma Khanna among others.
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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