1920 evil returns

IMB 437
Suhruta Kulkarni and Karthika A. S. prepared this case under the guidance of U. Dinesh Kumar, Professor of Quantitative Methods and
Information Systems prepared this case for class discussion. This case is not intended to serve as an endorsement, source of primary data, or to
show the effective or inefficient handling of decision or business processes.
Copyright © 2013 by the Indian Institute of Management Bangalore. No part of the publication may be reproduced or transmitted in any form or
by any means—electronic, mechanical, photocopying, recording, or otherwise (including the Internet)—without the permission of Indian Institute
of Management Bangalore.
SUHRUTA KULKARNI, KARTHIKA A. S. AND U. DINESH KUMAR
1920 EVIL RETURNS – BOLLYWOOD AND SOCIAL MEDIA
MARKETING
Horror story tellers get a high out of the sensation they sell. Some people like to be the life of a
party by making people laugh. In a group of people, there are some who only talk about tragic
stuff and then there are a few like me who love to scare. I love to peddle fear.
Vikram Bhatt, The Times of India, September 8, 2012
1
People who love horror movies love talking about them and online social media provides the
perfect faceless platform to carry out such discussions, which in turn also creates word-of-mouth
publicity for the film. We had seen an overwhelming response to our social media campaign for
1920 Evil Returns and the film also turned out to be a box office hit.
Ami Shah, IntelliAssist, July 2013
Ami Shah, founder of IntelliAssist, helped clients to create social media marketing strategies for their products or
services and assisted them in the execution of these campaigns. ASA Productions & Enterprises Pvt. Ltd., a
prominent production house, was one of her prestigious clients. In 2012, Shah had designed the social media
marketing campaign for the movie “1920 Evil Returns”, which was a sequel to the movie 1920 that was released in
2008. The next movie in the 1920 franchise was expected to be released in 2014. Shah was sitting in front of piles of
campaign data collected from sources such as Facebook Insights, YouTube Analytics, and Google Adwords. She
was analyzing the impact of the campaign and wondered whether the right social media mix had been used. Shah
was also concerned about the ever-changing dynamics of social media and asked herself whether the campaign
catered to these dynamics.
Shah was planning the social media campaign for the third film in the 1920 franchise that was tentatively titled 1920
London, which was slated for a 2014 release. According to Shah:
Social media is measurable in terms of active engagement and is one of the fastest growing media
platforms. Social media is also very cost-effective, for example, just one hoarding in Mumbai
would cost around INR 4.5 million, while we did the entire social media campaign within INR
0.95 million. We are now trying to measure the return on investment on the spend of INR 0.95
million (USD 0.018 million) by studying the regional box-office collection data along with the
social media engagement data. Also, we wish to understand if our campaigns that ran across India
at the time of promotion had any impact on the box-office collection.
100 YEARS OF INDIAN CINEMA
Indian cinema completed 100 years in 2013 and was a INR 112 billion (USD 2.2 billion)
2
industry; the industry was
expected to grow at around 12% to reach INR 194 billion (USD 3.52 billion) by 2017.
3
Raja Harishchandra was the
first film produced in India by Dhundiraj Govind Phalke (popularly known as “Dadasaheb” Phalke) in 1913 and was
1
Source: http://articles.timesofindia.indiatimes.com/2012-09-08/news-interviews/33678078_1_horror-films-love-stories-indian-films (Accessed
in July 2013).
2
Conversion rate: 1 USD = 55 INR (as of July 2013).
3
Source: Indian Media & Entertainment Industry to achieve growth of 11.8% in 2013 and touch INR 917 Bn. FICCI-KPMG Report, p. 1. (March
2013)
Purchased by: Gregory Nelson ASTRIL2013@OUTLOOK.COM on April 23, 2014

1920 Evil Returns – Bollywood and Social Media Marketing Page 2 of 24
screened at Coronation Cinema in Mumbai. From this silent, black-and-white film, the Indian film industry had
moved across color, talkies, and as of 2013, produced 3D (Three-Dimension), HD (High Definition), and high-
quality animation films as well. Alam Ara was the first talkies film and this was also screened in Mumbai at Majestic
Cinema in 1931. The first color film was Kisan Kanya, which was made in 1937. By the late 1940s, the film
industry flourished in the southern states of India and a large number of films were made in Tamil, Telugu,
Kannada, and Malayalam.
Cinema or filmed entertainment was generally classified under the Media and Entertainment (M&E) industry. The
M&E industry was estimated to be worth around INR 820 billion (USD 14.90 billion) in 2013 (break-up provided in
Exhibit 1). Films thus formed around 13.65% of the M&E industry; however, films were the source of the content
that was used by other segments such as television, radio, and music.
On average, 1,000 films were produced in the Indian film industry compared to the 600-odd
4
movies produced in
Hollywood. Indian films were produced in more than 20 languages and were watched by around 3 billion people
annually.
5
The Hindi film industry was popularly known as “Bollywood” since it mainly originated in Bombay,
which was the former name of the city of Mumbai; Bollywood was a combination of Bombay and Hollywood.
Bollywood was the largest contributor to industry revenues, followed by the South Indian movie industry and other
regional language cinema industries such as the Bengali, Bhojpuri, Marathi, and Gujarati industries. Overall, the
industry revenue size was small owing to low ticket prices and low occupancy, despite the Indian film industry
being the largest film producer in the world. The key differential characteristic of the Indian film industry was its
local consumption. Hollywood and other film industries relied on global consumption of films, while Indian films
were typically produced for local and regional consumption, although there was a growing trend in producing films
for the Indian diaspora and the global population in general.
Around 60% of the revenues for a film was generated through ticket sales and the rest was generated through other
sources such as the sale of satellite, home-video, mobile, and online rights. The digitization of content led to better
distribution, thus enabling access to new revenue sources. International studios such as Warner Bros., Disney, Fox,
DreamWorks, Eros, and so on had entered the Indian market. The film industry continued to be fragmented even
after its corporatization. The major film studios and film producers in India were based in Mumbai and South India.
As of 2013, films were made with a variety of themes, which not only represented the existing social environment
but also ventured into the fantasy and futuristic worlds. Films were made across a range of budgets, with upcoming
actors as well as established actors, and were shot in local as well as foreign locales. Different distribution modes
were used along with innovative marketing strategies. The Indian film industry had evolved to meet the local
audience’s requirements and was also aspiring towards a global audience.
HORROR GENRE IN BOLLYWOOD
Films consisted of several genres such as drama, romance, action, animation, comedy, family, history, sci-fi, war,
horror, thriller, musical, and so on.
6
Horror films portrayed negative emotions such as fear, hatred, terror, panic,
rage, and depravity. Some studies indicated that people watched horror movies to feel the excitement and intense
(negative) emotions, to get distracted from their routine life, and to see violations from social norms. Horror films
generally appealed to males in the age group of 15 to 45 years.
7
Plots of horror films generally involved
supernatural elements, evil forces, ghosts, aliens, vampires, serial killers, haunted houses, and torture. Globally,
horror films such as Paranormal Activities had achieved high commercial success and had been turned into
successful sequels.
Mahal (1940) was the first Indian horror movie, followed by movies such as Bees Saal Baad (1962), Gumnaam
(1965), Bhoot Bungla (1965), and Do Gaz Zameen Ke Neeche (1972). All these movies had the traditional
Bollywood characteristics of high-class music and a well-known star cast. In 1976, Nagin–a combination of horror
and fantasy–became a box office hit; the low production costs and high revenues of this movie inspired several other
horror movies. However, the quality deteriorated over time until a revival occurred in the twenty-first century. Raaz
4
Source: http://in.reuters.com/article/2013/05/19/film-cannes-bollywood-idINDEE94I03Q20130519 (Accessed in July 2013).
5
Source: Film Industry in India: New Horizons. Report by Ernst & Young and LA India Film Council.
6
Source: http://www.imdb.com/genre/ (Accessed in July 2013).
7
Source: http://www.accessscience.com/studycenter.aspx?main=18&questionID=5338 (Accessed in July 2013).

(2002), Bhoot (2003), Darna Mana Hai (2003), and 1920 (2008) were some of the Bollywood horror films of the
first decade of the twenty-first century; they went on to become box office successes and were generally followed by
sequels (Exhibit 2).
When you sell fear, you don't need an A-list star. People come to see fear and not the actor. The
audience for my films is in single screens who want chudail and dayans (different types of female
ghosts) and jadoo-tona (black magic).
Vikram Bhatt, The Times of India, September 8, 2012
1920 Evil Returns
1920 Evil Returns was released on November 2, 2012 as the second film of the 1920 franchise. The film was
produced by ASA Productions & Enterprises Pvt. Ltd., written by Vikram Bhatt and directed by Bhushan Patel. The
star cast of the movie included Aftab Shivdasani, Tia Bajpai, Sharad Kelkar, and Vidya Malvade in the lead roles;
the plot involved a possessed girl (Exhibit 3). The film was made with a budget of INR 90 million (USD 1.63
million) and had box office collections of INR 218 million (USD 3.96 million) (Exhibit 4); the movie was declared
a hit at the box office.
Vikram Bhatt has been an Indian director, producer, and writer. He was the son of veteran cinematographer Pravin
Bhatt and the grandson of late Vijay Bhatt, a noted producer–director–screenwriter of the golden era of Indian
cinema. Vikram started his career in 1982 at the age of 14 years and since then had directed 27 films, written
screenplays for 15 films/TV serials, and produced 8 films.
8
He directed and/or produced several horror films such as
Raaz (2002), 1920 (2008), Shaapit (2010), Haunted-3D (2011), Raaz 3 (2012), and 1920 Evil Returns. He
diversified into different genres and languages through ASA Productions and Enterprises Pvt. Ltd., a company that
was set up in 2006 in Mumbai to produce holistic entertainment. ASA Productions was in the business of producing
films and music as well as film distribution.
9
When asked to comment on 1920 London, Bhatt said:
The tragedy of a franchise is that they have to be similarly different. It's again a period love story
set in 1920, but the element of horror is different. While the previous two installments have
explored possession, this is more about haunting. Sharman and Meera (Chopra) breathe a new life
into the franchise.
Vikram Bhatt, The Times of India, July 2013
SOCIAL MEDIA IN INDIA
According to a report published by the Internet and Mobile Association of India (IAMAI),
10
there were 80.2 million
active Internet users in urban India in December 2012, and 72% of these (58 million) used social media. Among the
activities of these Internet users, email usage was the highest followed by social networking. Social networking
penetration was highest among “young men” followed by “college-going” students. Of the active social media users,
34% were from the top 8 metros, while the remaining 66% belonged to smaller cities and towns. Of the 80.2 million
active Internet users, 39.7 million accessed the Internet from their mobile phones. Email and social networking were
the most common activities of the mobile-phone Internet users as well. Facebook was used by 97% of the active
Internet users, followed by Google+ (34%) and LinkedIn (17%). Using apps seemed to be the most prevalent
activity on Facebook as of September 2012, followed by assessing groups and finding friends (Exhibit 5a-e).
Social media had become a popular medium for marketing in India. The most popular example was the song Why
This Kolaveri Di from the Tamil language movie 3. The video of the song had leaked to YouTube and sensing the
popularity, an official version was uploaded by the movie’s production house. Within 3 weeks, the video received
19 million YouTube views and 6.5 million Facebook shares, and had more than 10,000 tweets per day.
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The video
received two awards from YouTube–Recently Popular Video (Gold) and Trending Video (Silver). The movie itself
8
Source: http://www.imdb.com/name/nm0080333/ (Accessed in July 2013).
9
Source: http://www.asaproductions.in (Accessed in July 2013).
10
Social Media in India: 2012 (February 2013). Internet and Mobile Association of India (IAMAI) in association with IMRB International and
eTech.
11
Source: http://businesstoday.intoday.in/story/kolaveri-di-success-case-study/1/22957.html (Accessed in July 2013).

received average box office collections.
Another instance in which significant buzz was created in the social media was during the broadcast of the talk show
Satyameva Jayate (English: Truth Alone Triumphs), hosted by the popular Bollywood actor, Aamir Khan.
12
This
show was broadcast on Sundays; the first episode was broadcast on May 6, 2013. A study conducted by Simplify
360° reported that the show had received 660,643 likes on Facebook, with 382,319 people talking about it on
Facebook, 15,135 followers on Twitter, and 353,255 views on YouTube within 3 days of broadcast of the first
episode.
1920 EVIL RETURNS–SOCIAL MEDIA CAMPAIGN
Shah had used a mix of social media for conducting the 1920 Evil Returns campaign. She described the objectives of
the 45-day digital marketing campaign:
Primary objective was to create maximum video views for theatrical trailer and other videos.
Secondary objective was to ensure that official posters get maximum attention and visibility. Last
but not the least, community creation and engaging all horror fans, especially those who loved the
prequel.
SOCIAL MEDIA CAMPAIGN EXECUTION
An official Facebook page was launched on September 14, 2012 with the first look of the movie. To grow its fan
base, IntelliAssist quickly started promoting the page to targeted audience in India in the age group of 18–35 years
with an interest in horror with the help of Facebook ads and sponsored stories. On average, IntelliAssist posted three
to four daily posts on the page. Content strategy revolved around announcements (news bytes, video uploads, and so
on), sharing of movie stills, and creation of interesting polls. The objective of each post was to tell a story, ask a
question, create a bond, or distinguish a fan. Custom apps such as the Exclusive Stills showcase and Top Fans
dashboards (Exhibit 6a) were used to enhance engagement. A picture contest (based on audience voting) was
announced to create a buzz and increase the viral reach of the page. Active fans were identified and rewarded; this in
turn motivated other fans to actively participate and contribute. Although these were usually considered harmful for
a brand, several fan-created posters were shared on the page; this helped in increasing the feeling of belongingness
and the community appreciated the same. Facebook served as a fantastic platform to test-market new creative ideas
and validate that the art-work for a movie poster resonated well with its audience.
An interesting fact that we wish to share is that one poster was created exclusively for Facebook;
this featured entire team (cast and crew). It reached 1,27,482 people on the Facebook page within
2 days and spread virally to several other websites. The poster received encouraging feedback; this
was eventually used in all print and outdoor media at the time of the movie release. [Exhibit 6b]
Ami Shah, IntelliAssist, July 2013
In 45 days, the 1920 Evil Returns Facebook page acquired over 65,000 page likes; 40% of the page likes were
contributed by Facebook ads, while 60% of the page likes were received organically. The week that the movie was
released, the page reached out to an average of 30,000 fans daily. Different post types such as Links, Photos,
Questions, Status Updates and Videos were used and a change in engagement was observed with each type as shown
in Exhibit 7. Additionally, Facebook Insights (the Facebook analysis tool) also provided page-level and post-level
data (excerpts provided in Exhibit 8a and b).
Facebook-promoted posts were used to promote YouTube videos. This strategy proved beneficial as one video had
content meant for adult audiences and paid advertisements on YouTube were not possible for the same. (YouTube
allowed uploading of adult content but did not allow paid promotion of the same.) Over 2,000 video views of one of
the YouTube videos were contributed by Facebook (within 5hours of uploading the post). This initial start helped in
increasing YouTube channel visitors and subscribers.
12
Source: http://www.satyamevjayate.in (Accessed in July 2013).

A Twitter handle was created and integrated with Facebook. Every post on Facebook was sent to Twitter. The
Twitter handle was not actively promoted by means of paid advertisements or active tweeting. Awareness was
created on the movie’s official Facebook page and the actor Aftab Shivdasani tweeted the handle a couple of times.
The Twitter handle had 141 followers. When the theatrical trailer was uploaded on YouTube, the link was tweeted
by Taran Adarsh (3,43,000 followers) of Bollywood Hungama and Aftab Shivdasani (77,000 followers).
A new YouTube channel was created and the theatrical trailer (which received around 16,21,800 views) was
uploaded during the campaign period (September 28–November 30, 2012);this was viewed for around 25,00,000
minutes. This video recorded an engagement of 2,267 Likes, 216 Dislikes, 724 Comments, 2,026 Shares, and 219
Favorites Added. Of the video views, 76% were contributed by males and the rest by females. A mix of advertising
and content marketing was designed to promote the theatrical trailer and the video trended on YouTube for 2 days.
Traffic towards the YouTube theatrical trailer was majorly from YouTube search (24%), YouTube homepage feeds
and subscriptions (13%), YouTube suggested video (10%), Google search (6%), and YouTube advertising (2%).
The remaining traffic was from a variety of sources such as Facebook, indiatimes.com, santabanta.com, Babylon
Search, hindustantimes.com, rediff.com, and various other search engines. Exhibit 9 provides viewership statistics
for the YouTube theatrical trailer and Exhibit 10a and b shows the demographics.
Animated banner ads, video ads, page push, and expandable ads were placed on prominent entertainment sites, news
sites, and general interest portals in the period leading to the release date in order to increase publicity in the digital
media. Each advertisement received a different number of clicks and was priced differently, as shown in Exhibit 11.
CAMPAIGN ANALYSIS
The social media campaign was very successful and Shah had the statistics to prove it. Active fan engagement and
positive word-of-mouth also validated the success of the social media campaign. ASA Productions as well as
Vikram Bhatt were happy with the campaign. However, Shah wondered whether she could have done it differently.
Was the spending-mix (Exhibit 12) effective?
Shah wanted to measure the impact of social media marketing on revenues. Although it was difficult to estimate the
conversion of social media activity (liking, sharing, commenting, and viewing trailers) into actual ticket sales, a
pattern was observed between the activities and the ticket sales. Exhibit 13 provides data on region-wise box office
collection along with the corresponding Facebook likes. Conventionally, almost 30–60% of the revenues for any
Bollywood film was garnered from the city of Mumbai. However, the social media activity in Mumbai for the movie
was very low as compared to the revenues, despite the high usage of social media in Mumbai.
Sentiment analysis was conducted on all the comments, reviews, posts, etc. on the internet and the results are
provided in Exhibit 14.
Facebook Review
Facebook played a vital role in online engagements and also contributed 15,117 initial views of the theatrical trailer
posted on YouTube, which helped in building the popularity of the video. Shah was satisfied with this aspect of
Facebook; however, she was unhappy with the Facebook Ad Manager. She had observed that the Facebook ads were
also served to those people who had already liked the page. This not only irritated the users but also resulted in
wastage of money, since each click had to be paid for. Shah also observed that the number of page likes had
increased from 65,000 at the end of the campaign to around 1,50,000 by July 2013. She wondered whether a
majority of horror movie fans were missed out during the campaign period.
Shah wondered whether she should have created a movie page or a franchise page, considering that another movie in
the franchise was slated to be released in 2014. She was thinking of ways to leverage the engagement and the
community built on the existing Facebook page for the next movie.
YouTube Review
Shah had created a YouTube channel for ASA Productions and had uploaded the theatrical trailer and other videos
on that channel. Some industry people would create separate channels for different movies, since they considered a

movie brand to be larger than the production house’s brand. Separate ad spends would have to be done for each
movie. Each movie would have a separate set of subscribers, which could not be used for the promotion of any
future movie. According to some experts, this model worked well as the movie genres differed significantly and
there was no point in having subscribers of other genres. Shah wondered whether she should continue with the
single ASA Productions channel or whether she should create separate channels for different movies.
Twitter Review
In India, people generally followed celebrities, not brands. Aftab Shivdasani, the key actor in the movie 1920 Evil
Returns, had around 77,000 followers while other popular actors in India such as Shah Rukh Khan and Hrithik
Roshan had around 4,565,600 and 3,768,800 followers, respectively. Since not many people were following the
film’s actors, Twitter was not actively used in the campaign. Further, a movie would have a shelf life of around 2–3
months; creating a buzz on Twitter would take as much time, which is why Twitter would be more suitable for
longer lifecycle products. Industry data also suggested that that people in India used Twitter to get information,
rather than to engage actively.
Shah also observed that only 200 views (less than 1%) resulted from the two tweets of Taran Adarsh and Aftab
Shivdasani who had a collective fan following of 4,20,000 people. However, with changing trends, Shah wondered
whether she should use Twitter to promote the third movie in the franchise. The fact remained that the offering was
for a niche market (horror fans) and the film would not have a popular star cast.
Other Platforms
With the growing popularity of photo-sharing sites such as Pinterest and Instagram, should these be part of the social
media mix? Should Google+ be also used to target the Indian audience?
Based on the analysis of the campaign for 1920 Evil Returns and with the ever-changing dynamics of social media,
Shah was wondering what strategy she should use for the third movie in the franchise, 1920 London.

Exhibit 1
Media & Entertainment–Overall industry size and projections (INR billion)
Industry
Calendar Year
2007 2008 2009 2010 2011 2012 2017
(Projection)
CAGR
(2012–2017)
Television 211.0 241.0 257.0 297.0 329.0 370.1 847.6 18.0%
Print 160.0 172.0 175.2 192.9 208.8 224.1 340.2 8.7%
Films 92.7 104.4 89.3 83.3 92.9 112.4 193.3 11.5%
Radio 7.4 8.4 8.3 10.0 11.5 12.7 27.4 16.6%
Music 7.4 7.4 7.8 8.6 9.0 10.6 22.5 16.2%
Out-of-Home 14.0 16.1 13.7 16.5 17.8 18.2 27.3 8.4%
Animation & VFX 14.0 17.5 20.1 23.6 31.0 35.3 73.5 15.8%
Gaming 4.0 7.0 8.0 10.0 13.0 15.3 42.1 22.4%
Digital Advertising 4.0 6.0 8.0 10.0 15.4 21.7 87.2 32.1%
Total 514.5 579.8 587.4 651.9 728.4 820.5 1661.1 15.2%
Source: Indian Media & Entertainment Industry to achieve growth of 11.8% in 2013 and touch INR 917 Bn. FICCI-KPMG Report, p. 1 (March
2013).
Exhibit 2
Bollywood movies and sequels
Movie Name (Year) Sequel Name (Year) Genre
1920 (2008) 1920 Evil Returns (2012) Horror
Aashiqui (1990) Aashiqui 2 (2013) Romance
Bheja Fry (2007) Bheja Fry 2 (2011) Comedy
Bhoot (2003) Bhoot Returns (2012) Horror
Dabanng (2010) Dabanng 2 (2012) Action
Darna Mana Hai (2003) Darna Zaroori Hai (2006) Horror
Dhamaal (2007) Dhamaal 2 (2011) Comedy
Dhoom (2004) Dhoom 2 (2006), Dhoom 3 (to be released in 2013) Action
Don (2006) Don 2 (2011) Action
Golmaal: Fun Unlimited (2006) Golmaal Returns (2008), Golmaal 3 (2010) Comedy
Hera Pheri (2000) Phir Hera Pheri (2006) Comedy
Housefull (2010) Housefull 2 (2012) Comedy
Jannat (2008) Jannat 2 (2012) Crime
Jewel Thief (1967) The Return of Jewel Thief (1996) Crime
Jism (2003) Jism 2 (2012) Thriller
Koi Mil Gaya (2003) Krrish (2006), Krrish 3 (to be released in 2013) Sci-Fi
Malamaal Weekly (2006) Kamaal Dhamaal Malamaal (2012) Comedy
Munnabhai M.B.B.S. (2003) Lage Raho Munnabhai (2006) Comedy
Murder (2004) Murder 2 (2011) Horror/Thriller
Nagina (1976) Nigahen (1989) Horror
Once Upon A Time in Mumbai (2010) Once Upon A Time in Mumbai Dobaara! (2013) Crime
Race Race 2 (2013) Thriller
Rakta Charitra: Part I (2010) Rakta Charitra: Part II (2010) Biographical
Raaz (2002) Raaz 2 (2009), Raaz 3: The Third Dimension (2012) Horror
Shootout at Lokhandwala (2007) Shootout at Wadala (2012) Crime Thriller
Vaastav (1999) Hathyar (2002) Crime Drama
Sarkar (2005) Sarkar Raj (2008) Drama Thriller
Source: http://www.bollywoodhungama.com/movies/features/type/view/id/4492

Exhibit 3
Movie details of 1920 Evil Returns
Producer: ASA Productions & Enterprises Pvt. Ltd.
Director: Bhushan Patel
Writers: Vikram Bhatt and Amin Hajee
Screenplay Writer: Rensil D’Silva
Music: Chirantan Bhatt
Cinematography: Naren Gedia
Editor: Swapnil Raj
Actors: Aftab Shivdasani, Tia Bajpai, Sharad Kelkar, Vidya Malvade
Plot Synopsis
Jaidev Verma (Aftab Shivdasani) is a famous poet who lives the life of a loner as he is unable to be with the love of
his life, Smruti (Tia Bajpai). They get to know each other through an exchange of letters and slowly fell in love with
each other. One day, Jaidev receives a letter informing him that Smruti had an accident and is dead. His sister
Karuna (Vidya Malvade) is his only support system.
Jaidev finds an unconscious girl near a lake and brings her home. After returning to her senses, she is not able to
remember anything from her past life except Jaidev's poems. Karuna is skeptical of her presence in the house,
especially when the keeper of the cemetery warns them of an evil spirit inside her. However, Jaidev is insistent on
keeping her at home since he feels a connection with her. He even names her Sangeeta.
Strange and spooky things start happening such as Sangeeta vomiting iron nails and seeing ghosts in her room. On
their way to see a doctor, Sangeeta gets completely possessed by the ghost. The only person Jaidev can turn to in
order to save her is the cemetery keeper. Slowly, Jaidev gets to know that Sangeeta is actually his lost love Smruti.
He goes to Smruti's old residence to find the truth. There, he discovers that Karuna had come before, asking about
Smriti. Jaidev returns home and finds that Karuna is missing. He finds Karuna's body hanging in the forest with
suicide notes around it. From Karuna's letters he comes to know that his best friend Amar (Sharad Kelkar), who was
always jealous of Jaidev's success, had exploited Karuna to obtain his revenge. When Amar discovered that Jaidev
loved Smruti, he went to Smruti posing as Jaidev, and took her to Shimla. He tried to exploit her but he dies in the
process.
Jaidev now has to take the possessed Smruti to Shimla to face the final battle of good vs. evil. As they are preparing
to take Smruti, the cemetery keeper warns Jaidev that the spirit possessing Smruti is very vengeful and has to be
deceitfully taken to Amar's residence. Once Smruti touches Amar's corpse (even unwillingly), the spirit of Amar will
have to leave Smruti's body and return to Amar's corpse. The corpse can then be set on fire, releasing Amar's spirit.
While doing this, Smruti must not know where she is being taken, else the spirit residing in her will also know, and
may try to flee from the spot. Therefore, she is kept unconscious and completely enveloped in a sacred cloth from
head to toe. Eventually, they reach the designated place, but the cemetery keeper stumbles and drops Smruti's
unconscious body, moving the sacred cloth away from her face, awakening the spirit in her. The possessed Smruti
unleashes mayhem on all four people and in a matter of time, all of them except Jaidev are brutally killed. Jaidev is
badly injured and the possessed Smruti burns the corpse of Amar.
Jaidev lies on the floor helpless, pleading with the spirit possessing Smruti to kill him so as to release him from the
agony of living without Smruti. The spirit refuses, saying this is exactly what it wants and that Jaidev should suffer.
As the possessed Smruti is within Jaidev's reach, he cuts a rope attached to the loft in the ceiling. The loft's door
opens and a corpse falls on to the possessed Smruti. A flashback reveals that this is the real corpse of Amar that
Jaidev had hidden in the loft. The corpse comes alive as the spirit is forced to return to its original body once the
corpse touches Smruti's body (when it fell on her). The enraged spirit tries to kill Smruti by jumping with her into
the fire that had been lit by the spirit earlier. Jaidev thrusts an axe into the corpse, making it fall back into the fire.
Jaidev saves Smruti and they live happily with each other.
Source: http://www.asaproductions.in

Exhibit 4
Revenue break-up for 1920 Evil Returns
Net
Revenues
(INR)
1st Week 2nd Week 3rd Week 4th Week 5th Week Total Region-
wise
%age
Mumbai 55,005,772 14,392,676 505,761 151,928 0 70,056,138 32.20%
Delhi/UP 34,607,364 9,927,757 272,764 139,449 283,269 45,230,603 20.79%
East Punjab 13,039,686 4,045,881 51,406 56,500 0 17,193,472 7.90%
CP 11,437,729 2,707,019 79,938 0 0 14,224,686 6.54%
CI 8,894,966 1,700,205 0 0 0 10,595,171 4.87%
Rajasthan 9,906,825 2,028,005 0 0 0 11,934,830 5.49%
AP/Nizam 11,826,040 3,112,344 45,715 0 0 14,984,099 6.89%
Mysore 3,702,102 2,074,544 147,083 0 0 5,923,729 2.72%
TNK 1,034,155 448,583 0 0 0 1,482,738 0.68%
West
Bengal
10,849,648 3,669,519 166,173 245,731 143,293 15,074,364 6.93%
Assam 1,726,448 600,357 0 44,535 0 2,371,340 1.09%
Odisha 1,812,107 486,983 15,326 14,516 0 2,328,932 1.07%
Bihar 5,213,407 952,527 0 0 0 6,165,934 2.83%
Total 169,056,249 46,146,401 1,284,166 652,658 426,562 217,566,036 100.00%
Week-wise
%age
77.70% 21.21% 0.59% 0.30% 0.20% 100.00%
Source: Information from Ami Shah
Exhibit 4 (Continued)
Region Region Description
Mumbai Mumbai city and suburbs, Gujarat, Goa, parts of Maharashtra and parts of Karnataka
Delhi/UP Delhi city, Uttar Pradesh (UP), and Uttarakhand
East Punjab Punjab, Haryana, Himachal Pradesh, Kashmir
CP Parts of Maharashtra, parts of Madhya Pradesh, and parts of Chhattisgarh
CI Parts of Madhya Pradesh
Rajasthan Rajasthan
AP/Nizam Andhra Pradesh (including Hyderabad) and parts of Maharashtra
Mysore Parts of Karnataka (including Bangalore)
TNK Tamil Nadu and Kerala
West Bengal West Bengal
Assam Assam
Odisha Odisha
Bihar Bihar
Source: http://www.boxofficeindia.com

41%
43%
56%
59%
60%
72%
80%
0% 20% 40% 60% 80% 100%
chatting
utility
browsing
gaming
entertainment
social networking
email
Base: 80.2 Million active internet users in Urban India, (source: IMRB I-cube; 2012)
Exhibit 5a
Social media market in India
Urban India Internet Landscape
June 2012 December
2012
June 2013
(estimated)
Active Internet Users 80.2 million 84 million 89 million
Exhibit 5a (Continued)
Source: Social Media in India: 2012. Internet and Mobile Association of India in association with IMRB international and eTech.

35%
18%12%
11%
24%
Top 8 metros
Small metros
non metros
small towns(2-5 lakhs)
small towns(less than 2 lakh)
Base: 57.9 Active Internet users accessing social networking in urban India
(Source: IMRB I-cube, June 2012)
Exhibit 5b
Social media usage across different locations
Exhibit 5b (Continued)
Top 35 Cities in India
Top 4 metros Next 4 metros Small metros Non metros Small towns
Mumbai
Delhi
Kolkata
Chennai
Bangalore
Hyderabad
Ahmedabad
Pune
Coimbatore
Jaipur
Lucknow
Ludhiana
Vishakhapatnam
Patna
Guwahati
Kochi
Vadodara
Indore
Surat
Nagpur
Aurangabad
Belgaum
Aligarh
Bhubaneswar
Raipur
Alappuzha
Ujjain
Sambalpur
Faizabad
Panipat
Kolaghat
Baleshwar
Philbit
Amreli
Chickamagalur

Exhibit 5c
Social media usage across different age groups
Exhibit 5c (Continued)
Demographic Segments Definition
School-going children Children studying in school and above 8 years of age; they were in the age group
8–17 years, although a small portion could be over 18 years.
College-going students Youths studying in college (graduate, post-graduate, and doctoral students); most
students were in the age group of 18–25 years, although a small proportion could
be below 18 and over 25 years.
Young men Men in the age group of 21–35 years who are not school- or college-going students;
this segment included all those who are employed as well as unemployed.
Non-working women Women in the age group of 25–38 years and are not working; this segment
included housewives as well as non-working young women who were not school-
or college-going students.
Working women Women in the age group of 21–58 years and employed outside home.
Older men Men in the age group of 36–58 years, employed or otherwise.
68%
82% 84%
65%
52% 55%
School going(15
Mn)
College
going(14.9 Mn)
Young men(24.2
Mn)
Older men(11.5
Mn)
Working
women(4.6 Mn)
Non-working
women(10 Mn)
Social Networking Profile By Demographic Segments
Base: 80.2 Million active Internet users in urban India, (Source: IMRB I-cube, June 2012)

Exhibit 5d
Activities of mobile internet users (top 35 Indian cities)
Exhibit 5e
Top activities on Facebook
83%
77%
65%
44%
40%
28%
24%32% 33%
10%
5% 7% 4%
0%0%
10%
20%
30%
40%
50%
60%
70%
80%
90%
email Social
Networking
text chat portal
wbsites
information
search
online games online news
all activities main activities
73%
47%
34%
21%
11%
11%
4%
0% 20% 40% 60% 80%
Using apps
Accessing groups
Finding friends
Watching photos
Watching videos
chatting/messaging
Search
Base: 34.8 Million users in Facebook for September 2012

Exhibit 6a
Facebook Custom Apps

Exhibit 6b
Posters created for Facebook

Exhibit 7
Facebook insights for the official page of 1920 Evil Returns
Type of Post
Average Lifetime
Post Total Reach
Average Lifetime
Engaged Users
Links 16,824 558
Photos 24,527 3,102
Questions 15,399 917
Status Updates 24,442 1,252
Videos 27,426 2,394
Source: Facebook Insights for 1920 Evil Returns Official page
Exhibit 8a
Region-wise Facebook Likes*
Region Bollywood
Territory
Likes* Region Bollywood
Territory
Likes*
Agra, Uttar Pradesh, India Delhi/UP 85,471 Dhaka, Bangladesh 621,176
Ahmedabad, Gujarat, India Mumbai 294,870 Dubai, United Arab Emirates 333,906
Ahmednagar, Maharashtra, India
/Mumbai Territory
Mumbai 104,816 Durgapur, West Bengal, India W. Bengal 315,030
Akurdi, Maharashtra, India
/Mumbai Territory
Mumbai 97,150 Faridabad, Haryana, India E. Punjab 117,783
Aligarh, Uttar Pradesh, India Delhi/UP 259,375 Gandhinagar, Gujarat, India Mumbai 176,624
Allahabad, Uttar Pradesh, India Delhi/UP 131,448 Ghaziabad, Uttar Pradesh, India Delhi/UP 97,397
Amravati, Maharashtra, India CP 175,965 Gidderbaha, Punjab, India E. Punjab 95,364
Amritsar, Punjab, India E. Punjab 151,358 Gingoog City, Gingoog,
Philippines
156,667
Amsterdam, NY 278,693
Asansol, West Bengal, India W. Bengal 575,250 Gorakhpur, Uttar Pradesh, India Delhi/UP 91,959
Ashdod, HaDarom, Israel 345,914 Gurgaon, Haryana, India E. Punjab 117,273
Athgarh, Odisha, India Odisha 223,954 Guwahati, Assam, India Assam 34,939
Aurangabad, Maharashtra, India Mumbai 137,506 Gwalior, Madhya Pradesh CI 35,813
Balasore, Odisha, India Odisha 121,964 Howrah, West Bengal, India W. Bengal 11,973
Bangalore, Karnataka, India Mysore 189,588 Hyderabad, Andhra Pradesh,
India
Nizam/And
hra
11,527
Barabanki, Uttar Pradesh, India Delhi/UP 160,178 Indore, Madhya Pradesh, India CI 9,239
Bareilly, Uttar Pradesh, India Delhi/UP 113,175 Jabalpur, Madhya Pradesh, India CP 815
Baroda, Gujarat, India Mumbai 86,318 Jaipur, Rajasthan, India Rajasthan 2,534
Batala, Punjab, India E. Punjab 108,825 Jaipur City, Rajasthan, India Rajasthan 2
Behrampur, Odisha, India Odisha 147,139 Jalandhar, Punjab, India E. Punjab 1,631
Bhilai, Chhattisgarh, India CP 340,377 Jamshedpur, Jharkhand, India Bihar 5
Bhopal, Madhya Pradesh, India CI 251,296 Jeddah, Makkah, Saudi Arabia 2
Bhubaneshwar, Odisha, India Odisha 128,698 Jhansi, Uttar Pradesh, India Delhi/UP 1
Bhubaneswar, Odisha, India Odisha 187,084 Jodhpur City, Rajasthan, India Rajasthan 1
Bologna, Emilia-Romagna, Italy 178,806 Kalyan-West, Maharashtra, India Mumbai 2
Calcutta, West Bengal, India W. Bengal 169,324 Kanpur, Uttar Pradesh, India Delhi/UP 1,331
Calicut, Kerala, India TNK 90,037 Karachi, Sindh, Pakistan 333

Region Bollywood
Territory
Likes* Region Bollywood
Territory
Likes*
Cartagena, Norte de Santander,
Colombia
173,511 Kashimpur, Bangladesh 2
Chandigarh, India E. Punjab 252,319 Kota, Rajasthan, India Rajasthan 651
Chennai, Tamil Nadu, India TNK 131,525 Lucknow City, Uttar Pradesh,
India
Delhi/UP 2,762
Cochin, Kerala, India TNK 162,231 Ludhiana, Punjab, India E. Punjab 1,357
Coimbatore, Tamil Nadu, India TNK 260,281 Mumbai (Bombay), Maharashtra,
India
Mumbai 14
Colombo, Sri Lanka 192,774 Mumbai, Maharashtra, India Mumbai 7,886
Cuttack, Odisha, India Odisha 190,185 Nagpur, Maharashtra, India CP 1,300
Dehradun, Uttarakhand, India Delhi/UP 574,670 New Delhi, Delhi, India Delhi/UP 7,907
Delhi, India Delhi/UP 359,813 Pune, Maharashtra, India Mumbai 2,918
* Likes comprises of likes obtained for all types of posts such as links, photos, questions, status updates, videos and also the likes obtained on
posts shared by any user
Exhibit 8b
Facebook insights for the 1920 Evil Returns Page

Exhibit 8b (Contd.)

Exhibit 9
Statistics of theatrical trailer on YouTube

Exhibit 9 (Contd.)

Exhibit 10a
YouTube Views—Mean view percent among female viewers of varying age range
Exhibit 10b
YouTube Views—Mean view percent among male viewers of varying age range

Exhibit 11
Impact of Google Ads on trailer viewership
Average cost for the most important advertisements:
Number of clicks received for each ad:
26716.9
12695.17
4016.76
27157.74
27748.87
0 5000 10000 15000 20000 25000 30000
Ad name: 1920 Evil Returns; 300 x 250
Ad name: InVideoStatic Image; 480 x 70
Ad name: Click To Play Video; 300 x 250
TrueViewIn_Display- 1920 Evil Returns
PromotedVideos - 1920 Evil Returns
5907
6103
294
12982
13282
0 2000 4000 6000 8000 10000 12000 14000
Ad name: 1920 Evil Returns; 300 x 250
Ad name: InVideoStatic Image; 480 x 70
Ad name: Click To Play Video; 300 x 250
TrueViewIn_Display- 1920 Evil Returns
PromotedVideos - 1920 Evil Returns

Exhibit 12
Digital ad spends
Channels Amount (INR) %age
Facebook 1,00,000 10.5%
YouTube 3,00,000 31.6%
Bollywood Hungama 2,05,000 21.6%
The Times of India 1,00,000 10.5%
Hindustan Times 95,000 10.0%
Rediff.com 1,00,000 10.5%
SantaBanta.com 50,000 5.3%
Total 9,50,000
Exhibit 13
Region-wise box office collection and Facebook Likes*
Territory
Cumulative
Likes*
Revenue (INR)
Mumbai Territory 908104 70,056,138
Delhi/UP 1885487 45,230,603
East Punjab 845910 17,193,472
West Bengal 1071577 15,074,364
Bihar 5 6,165,934
Rajasthan 3188 11,934,830
Nizam/AP 11527 14,984,099
Mysore 189588 5,923,729
Assam 34939 2,371,340
Odisha 999024 2,328,932
TNK 644074 1482738
CP 482457 14,224,686
CI 296348 10,595,171
* “Likes” comprises likes obtained for all types of posts such as links, photos, questions, status updates, videos and also the likes obtained on
posts shared by any user.

Exhibit 14
Sentiment analysis: Positive, negative and neutral sentiments
13
Exhibit 14 Continued (sample comments)
13
The sentiment analysis report was generated by using MeshLabseZiCORE™ Text analytics engine.
MeshLabseZi CORE™ Text Analytics Engine delivers features such as meta-information extraction including entities, relationships, concepts,
and themes, auto-categorization, sentiment analysis, recommendation, and summarization from text-based big data.
The company MeshLabs, is a developer of text analytics software that combines advanced linguistics, statistics, and semantics to solve
information management, customer experience management, BI, and regulatory compliance problems. This effort was supported by from
MeshLabs end by its cofounder Shantanu Gudihal.
For more information visit http://www.meshlabsinc.com.

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