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STRATEGI KOMUNIKASI PEMASARAN REAL ESTATE DEEPA LAND PADA PROGRAM #DEEPARADISE
No full textPenelitian ini memiliki fokus untuk mengidentifikasi dan menganalisis strategi
komunikasi pemasaran yang digunakan real estate Deepa Land. Strategi komunikasi
pemasaran dilakukan Deepa Land melalui program #DEEPAradise. Penelitian ini
merupakan penelitian kualitatif dengan metode penelitian deskriptif. Data dikumpulkan
melalui wawancara dan dokumentasi melalui media sosial dan proposal dari Deepa
Land. Hasil penelitian ini membahas strategi komunikasi pemasaran Deepa Land, yaitu
mengindetifikasi target audiens, menentukan objektif komunikasi, mendesain/ merancang
komunikasi, menentukan saluran komunikasi, menentukan total anggaran. Selain itu
Deepa Land juga melakukan brainstorming, pembuatan content plan, menentukan
aktivitas komunikasi pemasaran, dan membuat desain konten
Deepa Mehta
No full textLa réalisatrice torontoise Deepa Mehta est née et a grandi en Inde et c’est d’abord dans ce pays qu’elle est attirée par le cinéma, comme média et comme forme artistique. Son père est distributeur de films et propriétaire de plusieurs salles de cinéma. Elle émigre au Canada en 1973 et entreprend une carrière dans le cinéma et à la télévision en se faisant remarquer à l’international par son premier long métrage, Sam and Me (1990), où elle explore l’amitié qui se développe entre un homme âgé d..
A Journey to the Ancient Hymns
No full textDeepa Koshaley Muralhttps://digitalcommons.collin.edu/ancienthymns2022/1001/thumbnail.jp
Maps and movies: talking with Deepa Mehta
No full textI met Deepa Mehta in a suburban mall in Brampton, a city in greater Toronto with a substantial Indian settlement. She was in the production phase of her latest film, Heaven on Earth about the spousal abuse rampant amongst Punjabi families living in Canada. Some of the scenes were being shot amidst the city's hustle and bustle, with regular shoppers stopping to see what the fuss was about, and Mehta's assistant, Dusty Mancinelli, graciously permitting me to film from a distance. Other scenes would take place in a makeshift Canadian classroom that had been created by Hamilton-Mehta Productions in a dilapidated part of the mall. While waiting for Mehta to get free, my aunt, a local, pointed out that Brampton isn't the most upscale part of Toronto, being notorious for ethnic ghettoes and sub-standard public health care. I figured Mehta's latest narrative, this time about diasporic Indians rather than those based in the homeland, fit right into the socio-economic landscape of desi1 Toronto. Would it get rave reviews from western critics, like her elements trilogy (comprising Fire, Earth, and the Oscar-nominated Water), and receive the indifference or condemnation of the mother country? Did she care about these reviews? Was Deepa Mehta the pet hate-figure of Hindu fundamentalists as fearless and formidable as Deepa Mehta the on-set filmmaker? I couldn't wait to find out
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