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Stream/Area:
-
Subject:
-
Paper ID:
IJSREM66440
Volume:
10 |
7 |
Jul 2026
Pages:
1-6
Publication Frequency:
Monthly (12 issues per year)
License:International Journal of Scientific Research in Engineering and Management follows the Creative Commons Attribution 4.0 (CC BY 4.0) License, allowing free use and distribution with proper attribution.

Commerce
Sri Krishna Arts and Science College
Commerce
Christ University Lavasa
This paper investigates the regulatory loopholes, legislative ambiguities, and structural asymmetries within the Indian direct tax framework that grant high-earning film personalities custom fiscal leniency. By executing a comparative analysis between Section 192 (Salaried Income) and Section 194J / Section 393 (Professional Fees), alongside corporate restructuring schemes involving One-Person Companies (OPCs) and offshore Intellectual Property (IP) licensing, this study illustrates how India’s entertainment elite systematically depress personal tax liabilities while the broader working demographic remains tightly bound by automated Tax Deducted at Source (TDS) collection. Ultimately, the paper demonstrates how current statutory provisions inadvertently subsidize the film industry at the expense of the public exchequer.
KEYWORDS
The Indian direct tax regime currently operates as a tale of two distinct financial realities. On one side stands the salaried middle class, governed by the unyielding, automated machinery of Section 192, where taxes are deducted at source with mathematical precision and negligible room for expense mitigation. On the other side sits the entertainment elite, navigating a fluid ecosystem of independent professional status under Section 194J (and Section 393 under the Income Tax Act, 2025), expansive business write-offs under Section 37(1), and corporate shields through One-Person Companies (OPCs). While creative risk and volatile revenue streams are inherent to the film business, this volatility cannot serve as a permanent license for systemic tax avoidance. By treating personal lifestyle maintenance—from international stylists and personal fitness squads to private vanity fleets—as "ordinary and necessary" business overheads, the current regulatory framework allows high-net-worth creators to drastically depress their taxable base while standard wage earners shoulder an asymmetric fiscal burden. To restore equity to the national tax framework and protect the public exchequer, regulatory authorities must transition from passive observation to strict, uncompromising structural enforcement: Targeted Expense Ceilings: The Central Board of Direct Taxes (CBDT) must introduce strict statutory caps on Section 37(1) claims for personal maintenance and image preservation in creative professions, bringing them closer to standard deduction logic. Rigorous Scrutiny of Corporate Shields: Tax authorities need a dedicated audit framework—akin to international entertainment audit protocols—to systematically look behind the corporate veil of celebrity OPCs and differentiate genuine operational overheads from disguised personal living costs. Unbundled Transparency: Multi-hyphenate contracts that combine performance fees, co-production profits, and IP licensing into single payouts must be subject to mandatory unbundled reporting, preventing capital gains arbitrage on core performance income. A Final Scriptual Warning Ultimately, while the public exchequer continues to fund essential national infrastructure, it should not be forced to co-produce the lavish lifestyles of off-screen cinema. Until the tax department scripts strict, non-negotiable compliance policies for the entertainment industry, the middle class will keep paying full price for admission—both at the box office and on their Form 16. After all, if Indian cinema has taught us anything, it is that every great villain eventually gets caught, every elaborate plot unravels in the final act, and no amount of dramatic background music can save a bad script. It is high time the Income Tax Department steps in as the ultimate director, cuts the creative accounting, and reminds our cine stars that unlike their movies, tax compliance is not open to artistic interpretation—and the statutory warnings should start before the show begins.
Axis Legal Counsel. (2021). Basics of loan-out companies for actors, writers, and artists. Practice Guides in Entertainment Law. Central Board of Direct Taxes [CBDT]. (1977). Notification No. S.O. 18(E) under Section 44AA of the Income Tax Act, 1961: Authorised professions in film and entertainment. Ministry of Finance, Government of India. Copyright (Amendment) Act, 2012. Act No. 27 of 2012. Parliament of India. Income Tax Act, 1961. Section 37(1) [General Business Expenses], Section 192 [TDS on Salary], and Section 194J [TDS on Professional Fees]. Ministry of Finance, Government of India. Income Tax Act, 2025. Section 393: Collection and recovery of tax – Deduction at source on professional or technical fees. Ministry of Finance, Government of India. India Briefing. (2026, May 5). Section 393 of Income Tax Act 2025 explained: FAQs for deductors. Dezan Shira & Associates. Internal Revenue Code. (1986). 26 U.S.C. § 262 (Personal, living, and family expenses) & 26 U.S.C. § 1221(a)(3) (Capital asset defined). United States Code. Internal Revenue Service [IRS]. (2023, September 15). Entertainment Audit Technique Guide (Publication No. 5774). Department of the Treasury, United States Government. Income Tax Appellate Tribunal [ITAT]. (2017). DCIT v. Parthiv A. Patel (78 taxmann.com 4). Ahmedabad Bench. Kapoor, R., & Sundaram, A. (2021). The corporate turn in Bollywood: Remuneration structures, tax planning, and shell entity proliferation in Indian entertainment. Journal of Indian Financial Law & Policy, 14(2), 105–28.
Publication Date
7/31/2026
Peer Review Type
Double-Blind Peer Review
Review Rounds: 2
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