``The rising popularity of docudramas signals a shift in audience tastes in favour of reality television, which includes all non-fiction programmes from talk shows and documentaries to news and current affairs programmes, besides shows based on real-life incidents,'' says Sameer Nair, director, Programming, Star Plus.

Raman Kumar, producer of Agnichakra, agrees: ``The overwhelming success offilms such as Satya and Sarfarosh is the sign of a maturing audience. Viewers are more socially aware today than ever, which is reflected in the high Television Rating Points (TRPs) of these programmes. Agnichakra had a TRP of five the very week it started. The fact that a serial is based on real life certainly enhances viewer interest.''

The cases featured in most of these programmes are culled from police records (in the case of Missing, it is the Bureau of Missing People), after which they are approved by the channel programmers. Subsequently, family members and friends of the concerned persons are interviewed and a screenplay worked out to make the narration coherent and interesting.

The criteria for selection of cases varies according to the thrust of the programme. While India's Most Wanted focuses on solving criminal cases by tracking down criminals, Agnichakra does not feature unsolved cases at all. Kumar explains: ``The aim of Agnichakra is not tosolve cases, but to help in the prevention of crime. We choose cases that could have been prevented. For instance, the complication of a crime on account of delay on the part of a witness to step forward, or the case of a first-time criminal.''

A common criticism levelled against docudramas is that they sensationalise more than they inform. Argues DCP, New Delhi, Pranab Nanda: ``Television can play a vital role in curbing crime. Unfortunately, the current crop of docudramas reveals a bias in favour of sensational cases relating to the underworld or involving well-known personalities. They also ignore the lower economic strata of society.''

However, producers on their part argue that in order to be commercially viable, a serial must make good television viewing. Ken Ghosh, producer of Missing says: ``It is a Catch 22 situation. If we make a boring programme, no one will watch it and that defeats the entire purpose of the venture.'' Adds Nair: ``Channels also do not have the adequate technology andfunds to organise superior quality footage for these programmes, which explains their limited range.''

The impact of these programmes has not been easy to guage, however. IMW, which has nabbed more than 24 criminals, including notorious gangster Babloo Srivastav, has had the highest success rate so far. Missing, which was instrumental in reuniting 11-year-old Kartik Selvan with his family, has also notched up pluses.

But it is the extent of social awareness these docudramas spread that is seen as more significant. Ghosh says: ``Missing is not purely a search for lost people. It also attempts to trace underlying patterns behind the disappearance of people. For instance, parental pressure arising from poor academic performance at school. We hope our show will change people's outlook and help prevent such cases.'' Agnichakra, likewise, not only raises issues relating to crime, but also claims to back up the crime series with a monthly public forum comprising a panel of legalexperts, NGOs, policemen.