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Facts in focus • 62% of the UK population said they went to the cinema at least once a year, up from 60% in 2009. • 19% went to the cinema once a month or more. • The cinema audience for the top 20 ďŹ lms was predominantly young, with the 7–24 age group (22% of the population) making up 48% of the audience. • Asian and Black African/Caribbean audiences are more frequent cinema-goers than the population as a whole. • 80% of ďŹ lm viewing occasions are via television. • Total ďŹ lm viewing occasions numbered over 4.6 billion, which means an average of 81 ďŹ lm viewings per person in 2010.
15.1 Cinema audience by gender More than six out of 10 of us went to the cinema at least once in 2010, a slight increase on 2009, while almost one person in five, 19% (18% in 2009), went to the cinema once a month or more (Table 15.1). A slightly higher proportion of the cinema-going audience in 2010 was female (Table 15.2). Table 15.1 Frequency of cinema visits by gender, 2010 Go to the cinema at least once per year (proportion of population 7+) Go to the cinema at least once a month (proportion of population 7+)
Male %
Female %
Overall %
61 20
62 18
62 19
Source: CAA Film Monitor Jan–Dec 2010.
Table 15.2 Cinema audience by gender, 2010 2009
Top 20 films (proportion of audience) Top UK films (proportion of audience)* Total survey population 7+
2010
Male %
Female %
Male %
Female %
51 49 50
49 51 50
52 56 49
48 44 51
Source: CAA Film Monitor. Notes: * Audience data were only available for 17 of the top 20 UK films released in 2010. ‘Audience’ in this table and throughout this chapter refers to film-going occasions. That is, if a person went to the cinema to see 10 films in 2010, that person would have contributed 10 film-going occasions to the audience figures above, unless otherwise stated. Repeat visits to the same films are not recorded in CAA Film Monitor. CAA Film Monitor included 130 film titles (mostly popular) of the 557 theatrical releases in 2010. The Film Monitor survey is carried out via a fortnightly omnibus survey of over 1,000 adults and children aged 7+.
15.2 Film preferences by gender Some films attracted substantially more of one gender than the other (Table 15.3). Men preferred action (Green Zone, Iron Man 2), fantasy adventures (Prince of Persia: The Sands of Time, Clash of the Titans) and comedy (Four Lions, Burke and Hare). Sex and the City 2, The Twilight Saga: Eclipse and Nanny McPhee and the Big Bang featured in the list of films with greater female audience share (Table 15.3).
126 – BFI Statistical Yearbook 2011
Image: Burke and Hare courtesy of Entertainment Film Distributors
1
2
Table 15.3 Audience gender split of top performing films released in the UK and Republic of Ireland, 2010 top 20 films and top UK films Greater female audience share
Sex and the City 2 The Twilight Saga: Eclipse Nanny McPhee and the Big Bang (UK) Greater male audience share
Green Zone (UK) Four Lions (UK) Prince of Persia: The Sands of Time (UK) Clash of the Titans (UK) Burke and Hare (UK) Iron Man 2
3
Male %
Female %
27 38 39
73 62 61
Male %
Female %
76 66 66 65 64 63
24 34 34 35 36 37
Male %
Female %
50 50 49 49
50 50 51 51
4
5
6
7
8
9 Gender difference not significant
Shrek Forever After Toy Story 3 Little Fockers The Ghost (UK)
10
11
Source: CAA Film Monitor. Note: Audience demographic data were available for 17 of the top 20 UK films released in 2010. 12
15.3 Cinema audience by age 13
As in previous years, teenagers and young adults were the most frequent cinema-goers in 2010 (Table 15.4). The 37% of the population in the 7–34 age group provided 68% of the top 20 film audience and 61% of the top UK film audience (Table 15.5).
14
Table 15.4 Frequency of cinema visits by age group, 2010 Age 7–14 % Age 15–24 % Age 25–34 % Age 35–44 % Age 45–54 %
Go to the cinema at least once per year (proportion of population 7+) Go to the cinema at least once a month (proportion of population 7+)
Age 55+ %
Overall %
89
85
71
68
60
34
62
32
44
23
17
12
5
19
15
16
17
Source: CAA Film Monitor.
18
19
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Chapter 15: Audiences – 127
22
Table 15.5 Cinema audience by age group, 2010 Age 7–14 % Age 15–24 % Age 25–34 % Age 35–44 % Age 45–54 %
Top 20 films (proportion of audience) Top UK films (proportion of audience) Total survey population aged 7+
18 13 7
30 28 15
20 20 15
15 16 16
Age 55+ %
Total %
9 13 34
100 100 100
8 11 14
Source: CAA Film Monitor. Notes: Totals may not sum to 100 due to rounding. See notes to Table 15.2.
Figure 15.1 shows the age trends of cinema-goers from 1997 to 2010. The proportion of people aged 35 or above going to the cinema increased gradually at the expense of younger cinema-goers from 1997 to 2008. However, the last two years has seen an increase in the number of 25- to 44-year-old cinema-goers at the expense of the over-45s which may reflect the number of animations and family films in the top 20 last year and also the absence of a major hit with particular appeal to the over 45 audience, as was the case with Mamma Mia! in 2008. Figure 15.1 Age distribution of cinema-goers, 1997 to 2010 % 100 90 80 70 60 50 40 30 20 10 1997
1998
1999
2000
2001
2002
2003
2004
2005
2006
2007
2008
2009
15–24
43
40
39
40
36
35
36
30
38
38
34
36
39
38
25–34
29
29
29
27
25
27
26
27
19
21
20
18
20
22
0
2010
35–44
14
16
15
17
20
20
16
18
18
17
19
16
18
19
45+
14
15
17
16
19
18
22
25
25
24
27
30
23
22
Source: National Readership Survey (NRS), CAA Film Monitor. Note: Cinema-goers are defined as those who reported to have ‘ever gone’ to the cinema in the surveys. Figures for any given year may have included audiences for a small number of titles released in the latter part of the previous year.
128 – BFI Statistical Yearbook 2011
1
2
15.4 Film preferences by age
3
Animations and family films such as How to Train Your Dragon, The Princess and the Frog, Shrek Forever After and Nanny McPhee and the Big Bang and UK dance film StreetDance 3D appealed to the 7–14 audience (Table 15.6). Action, comedies and romance/fantasy films appealed to the 15–24 age group (Table 15.7). Green Zone and The Wolfman were of particular appeal to the 25–34 audience (Table 15.8). Cemetery Junction, Gulliver’s Travels and Four Lions appealed to the 35–44 audience (Table 15.9). UK-produced Made in Dagenham and Burke and Hare attracted a greater proportion of cinema-goers in the 45–54 age group (Table 15.10). As in previous years, UK films appealed strongly to the over 55 audience (Table 15.11) with The Ghost, Burke and Hare, Made in Dagenham and The Chronicles of Narnia: The Voyage of the Dawn Treader all featuring in the list.
4
5
6
Table 15.6 Films with an above-average audience in the 7–14 age group, 2010 top 20 films and top UK films Title
Age group % of the film’s total audience
How to Train Your Dragon StreetDance 3D (UK) The Princess and the Frog Nanny McPhee and the Big Bang (UK) Shrek Forever After
35 33 28 27 27
7–14 age group in top 20 and top UK audience (%)
16
7–14 age group in total survey population (%)
7
7
8
9
10
Source: CAA Film Monitor. 11
Table 15.7 Films with an above-average audience in the 15–24 age group, 2010 top 20 films and top UK films Title
Kick-Ass (UK) Four Lions (UK) Karate Kid Prince of Persia: The Sands of Time (UK) The Twilight Saga: Eclipse Cemetery Junction (UK) Sex and the City 2 Iron Man 2 Inception (UK) Despicable Me 15–24 age group in top 20 and top UK audience (%) 15–24 age group in total survey population (%)
Age group % of the film’s total audience
59 47 40 40 39 38 38 37 37 35 30 15
12
13
14
15
16
17
Source: CAA Film Monitor.
18
19
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Chapter 15: Audiences – 129
22
Table 15.8 Films with an above-average audience in the 25–34 age group, 2010 top 20 films and top UK films Title
Age group % of the film’s total audience
Green Zone (UK) The Wolfman (UK) 25–34 age group in top 20 and top UK audience (%) 25–34 age group in total survey population (%)
36 27 20 15
Source: CAA Film Monitor.
Table 15.9 Films with an above-average audience in the 35–44 age group, 2010 top 20 films and top UK films Title
Age group % of the film’s total audience
Cemetery Junction (UK) Gulliver’s Travels (UK) Four Lions (UK) 35–44 age group in top 20 and top UK audience (%) 35–44 age group in total survey population (%)
24 24 22 15 16
Source: CAA Film Monitor.
Table 15.10 Films with an above-average audience in the 45–54 age group, 2010 top 20 films and top UK films Title
Age group % of the film’s total audience
Made in Dagenham (UK) Burke and Hare (UK) 45–54 age group in top 20 and top UK audience (%) 45–54 age group in total survey population (%)
19 17 9 14
Source: CAA Film Monitor.
Table 15.11 Films with an above-average audience in the 55+ age group, 2010 top 20 films and top UK films Title
Age group % of the film’s total audience
The Ghost (UK) Burke and Hare (UK) Made in Dagenham (UK) The Chronicles of Narnia: The Voyage of the Dawn Treader (UK) 55+ age group in top 20 and top UK audience (%) 55+ age group in total survey population (%) Source: CAA Film Monitor.
15.5 Cinema audience by social group Cinema audiences in social groups AB and C1 are more likely to be frequent cinema-goers (Table 15.12) while the cinema audience for the top 20 UK films also had a higher incidence of people in those social groups (Table 15.13).
130 – BFI Statistical Yearbook 2011
49 24 22 21 10 34
1
2
Table 15.12 Frequency of cinema visits by social group, 2010 Go to the cinema at least once per year (proportion of population 7+) Go to the cinema at least once a month (proportion of population 7+)
3 AB %
C1 %
C2 %
DE %
Overall %
72 23
67 22
59 17
47 14
62 19
Source: CAA Film Monitor. Note: AB: Professional, business and white collar, C1: Higher-skilled manual, C2: Lower-skilled manual, DE: ‘Semi-’ and ‘Unskilled’ manual.
5
Table 15.13 Cinema audience by social group, 2010 Top 20 films (proportion of audience) Top UK films (proportion of audience) Total survey population 7+
4
AB %
C1 %
C2 %
DE %
Total %
28 30 27
25 25 21
17 16 13
30 28 39
100 100 100
Source: CAA Film Monitor. Notes: See note to 15.12. Percentages may not add to 100 due to rounding.
6
7
8
9
15.6 Film preferences by social group 10
Six films, including The Ghost and Burke and Hare, had a particularly strong appeal to the AB audience in 2010 (Table 15.14) while three films – StreetDance 3D, Kick-Ass and The Twilight Saga: Eclipse – had a significant appeal to the DE audience (Table 15.15).
11
Table 15.14 Films with above-average AB audience share, 2010 top 20 films and top UK films Title
AB group % of film’s total audience
The Ghost (UK) Burke and Hare (UK) How to Train Your Dragon The Chronicles of Narnia: The Voyage of the Dawn Treader (UK) Green Zone (UK) Four Lions (UK) AB share of top 20 and top UK audience (%) AB in total survey population (%)
40 39 38 34 34 34 29 27
12
13
14
15
Source: CAA Film Monitor. 16
Table 15.15 Films with above-average DE audience share, 2010 top 20 films and top UK films Title
StreetDance 3D (UK) Kick-Ass (UK) The Twilight Saga: Eclipse DE share of top 20 and top UK audience (%) DE in total survey population (%)
DE group % of film’s total audience
45 40 40 30 39
17
18
19
Source: CAA Film Monitor. 20
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Chapter 15: Audiences – 131
22
15.7 Film audiences by ethnicity A recent survey of film audiences conducted by Harris Interactive for the UK Film Council1 revealed the film viewing preferences of a range of diverse audience groups. In terms of cinema attendance, Asian audiences show greater levels of cinema-going compared to the general public as a whole as do Black/African Caribbean and Eastern European audiences (Figure 15.2). Figure 15.2 Frequency of cinema attendance by minority ethnic group % of respondents 100 90 80 70 60 50 40 30 20 10 Total GB population into film*
Asian
Black African/Caribbean
Never
17
13
15
11
Occasional
26
13
17
10
Regular (monthly or every few months)
43
49
47
53
Very regular (at least once a fortnight)
14
36
32
36
0
Eastern European
Source: UK Film Council, Harris Interactive. Notes: Based on a survey of 4,315 people in February 2011. * Total GB population into film refers to those interviewed who had seen a film on any platform in the three months prior to the survey.
Black/African Caribbean people are slightly above the national average when it comes to DVD/Blu-ray purchasing levels while Asian and Eastern European film audiences are more closely aligned to the national average (Figure 15.3). Figure 15.3 DVD/Blu-ray purchase levels in past year by minority ethnic group % of respondents 100 90 80 70 60 50 40 30 20 10 Total GB population
Asian
Black African/Caribbean
None
25
23
21
21
Light (1–5)
36
35
33
39
0
Medium (6–10)
20
22
21
19
Heavy (>11)
19
20
24
21
Source: UK Film Council, Harris Interactive. Notes: Purchase levels include DVD/Blu-ray discs bought as gifts. See also notes to Figure 15.2.
1
Eastern European
Portrayal vs. Betrayal: An investigation of diverse and mainstream film audiences, UK Film Council and Harris Interactive, April 2011.
132 – BFI Statistical Yearbook 2011
1
2
15.8 Film audiences by disability
3
According to a survey of 15,000 people by Kantar Worldpanel, disabled people were under-represented among those who paid to watch films. Retail video was the only market segment in which disabled purchasers came close to their overall population percentage (Table 15.16). Table 15.16 Disabled audiences aged 12+ for cinema, rental and retail video, PPV, 2010
4
5 Disabled %
Not disabled %
16.6 15.1 11.8 15.8 14.3 14.6
83.4 84.9 88.2 84.2 85.7 85.3
Population aged 12+ Buyers of cinema, rental, retail and PPV film Cinema-goers Video buyers Video renters PPV buyers Source: Kantar Worldpanel. Notes: Fieldwork took place in November 2010. Purchase data for 52 weeks ending 20 February 2011. ‘Video’ includes all physical video formats, including DVD and Blu-ray. PPV = Pay-per-view.
6
7
8
9
10
15.9 Comparative profiles of cinema audiences and audiences for film on television Table 15.17 compares the audience profiles for film at the cinema and film on television. Although the gender split is roughly equal in each case, there is a significant difference in the age and social group profiles of the two audiences. The film on television audience is much older (40% over the age of 55) and skewed towards the DE social group and away from the AB group. The cinema audience is relatively youthful (69% under the age of 35) with a greater proportion of the audience in the AB group. Given the 3.7 billion size of the audience for film on television (Chapter 12), Table 15.17 demonstrates how film reaches all ages and social groups through its successive release windows.
11
12
13
Table 15.17 Profile of cinema audience and audience for film on television, 2010
Male Female Age 7–14 (cinema) and 4–15 (TV) 15–24 (cinema) and 16–24 (TV) 25–34 35–44 45–54 55+ AB C1 C2 DE
Cinema audience share %
Share of audience for film on television %
49 51 14 32 23 14 9 9 30 24 17 30
48 52 8 8 11 16 18 40 15 24 23 38
14
15
16
17
18
19
Source: Attentional, BARB, CAA Film Monitor, RSU analysis. Note: Television audience is total viewing occasions and includes those of the five terrestrial TV channels only. 20
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Chapter 15: Audiences – 133
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15.10 How films are consumed by age The UK Film Council/Harris Interactive survey asked respondents to think about the last 10 films they had watched and how they had watched them and an analysis of these responses by age is presented in Figure 15.4. The findings underline the youthful nature of the cinema audience and the importance of television to older audiences. In terms of home entertainment, DVD accounts for three in 10 film viewings in the 15–24 age category and 27% in the 25–34 group. Blu-ray viewing occasions are low, with a viewings peak of 9% in the 25–34 age group. Peer-to-peer (P2P) piracy, film theft and infringement via cyberlockers or other internet file hosting services account for 7% of film viewings in the 16–24 age category rising to 10% in the 25–34 age group while films downloaded via legal services represent 3% of viewings among 16–24 year olds (the peak for this platform). Figure 15.4 Way of watching films by age % 100 90 80 70 60 50 40 30 20 10 16–24
25–34
35–44
45–54
Rent DVD
7.3
8.2
7.5
4.2
4.9
Buy DVD
11.5
9.1
9.3
8.3
8.0
Receive DVD gift
11.6
0
55+
10.7
9.7
10.7
11.2
Rent Blu-ray disc (BD)
2.2
2.5
2.1
0.3
0.5
Buy BD
2.4
2.9
2.5
1.8
0.8
Receive BD gift
2.7
3.4
1.3
1.4
0.5
Legal download
2.6
2.1
0.7
0.5
0.3
Online streaming
5.5
3.2
1.0
1.0
0.5
Piracy – P2P
4.0
6.4
3.0
0.9
0.3
Piracy – cyberlockers
2.8
3.6
0.3
0.2
0.0
Recorded from TV
7.0
9.0
11.4
16.0
21.7
Subscription TV/Sky
6.5
10.1
15.9
16.2
7.2
11.5
11.2
16.2
22.5
27.8
Catch-up TV/iPlayer
6.1
3.8
4.7
4.7
5.3
Pay-per-view TV
1.9
2.9
2.1
2.0
0.4
15.4
12.0
11.3
8.7
10.1
Live TV
Cinema
Source: UK Film Council, Harris Interactive. See Notes to Figure 15.2.
134 – BFI Statistical Yearbook 2011
1
2
15.11 Total size of the UK film audience
3
The total size of the film audience in the UK in 2010 was estimated to be 4.6 billion, calculated from all the sources available (Table 15.18). Television accounted for 80% of the total film audience, followed by video (16%) and cinema (4%). Film watching via pay-per-view or other Video on Demand formats represented a small fraction of the total audience in the year (1%). The figures do not include watching film from illicit sources.
4
5
Table 15.18 Estimated total audience for film in the UK, all modes, 2010 Mode
Cinema DVD/Blu-ray VoD (including pay-per-view) Film on television Total
Audience size (million)
% of total film audience
169 719 53 3,668 4,609
4 16 1 80 100
Sources: CAA, Rentrak EDI, FAME, Screen Digest, Attentional, RSU analysis. Notes: ‘DVD/Blu-ray’ includes occasions watching previously-purchased feature film DVD/Blu-ray as well as current purchases. The DVD/Blu-ray estimate is derived from FAME survey information on the DVD-watching habits of cinema-goers with an additional estimate for the population not covered by FAME. ‘Film on television’ includes terrestrial, subscription and free-to-air multi-channel. Percentage may not sum to total due to rounding.
Taking the total film viewing figure of 4.6 billion occasions and dividing it by an estimated viewing population (excluding the very young), there were 81 film viewing occasions per person in 2010, an average of just under seven films per month.
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8
9
10
11
12
13
14
15
16
17
18
„
19
3 For more information about top films at the box office in 2010 see Chapter 2 (page 16) 3 For further details about film on video see Chapter 11 (page 98) 3 For further information about film on television see Chapter 12 (page 105) 3 To download a copy of the report Portrayal vs. Betrayal go to www.harrisinteractive.com/uk/Industries/ TechnologyMediaTelecoms.aspx
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Chapter 15: Audiences – 135
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