Contents:
- 1. Introducing the European Film Audience Survey
- 2. Reaching the Audience
- 3. Film Audience Profiles
- 4. How do Film Audiences Decide What to Watch?
- 5. Looking Ahead…
- 6. Glossary
- Annex 1: The European Film Landscape
- Annex 2: Country Profiles
- Annex 3: Methodology
- Annex 4: Consumer Profiles
- Annex 5: List of Unprompted Films
- Annex 6: Intouchables, a case study
- Annex 7: Questionnaire
This 900 pages report, written by consultants of Attentional and Headway International, was asked for by the European Commission within the scope of the Creative Europe programme. A programme to develop new audiences for European films. The key question is: How can the legal availability of European films be increased — on all platforms?This study on audience behaviour is based on an online survey of 4,608 Europeans aged 4-50 in 10 countries (Croatia, Denmark, France, Germany, Italy, Lithuania, Poland, Romania, Spain and the United Kingdom). The survey provides information on where and why people are watching films. Key characteristics of films are correlated with the preferences of different parts of the audience and in particular their awareness of these different characteristics. A process called behavioural segmentation was used to create pan-European profiles of particular types of film viewer, using the sample from the EU10. To gain further insights both into these groups and into certain key questions five profiles were acknowledged. These are considered to be strategic segments of film viewers: the “free-downloaders”, the “cinema disabled”, the “Europhiles”, the”film-literate” and the “film-influencers”.The issues raised for the European film industries and for film policy are discussed in section 5.2 under the headings Availability, Visibility and Understanding Audiences. Annex 2 includes a summary of information per country for the 10 countries cited above, and 21 countries not covered in the Audience Survey.An Executive Summary is available.
This report contains a wealth of information relevant for the film industry and distributors. Furthermore, it might be useful for the cultural heritages sector as well. Especially for those responsible for providing access to the content in their film archives and promoting the use and viewing of the content.The data are clearly presented. For example section 3.8. analyses the impact of several film drivers (content / editorial / marketing / production drivers) on film awareness and viewing depending on the age, gender, education level, area of residence and profile of viewers. The detailed ToC makes it possible for the reader to look up one single fact, for instance that cinema unlimited cards are widely used in Italy or that young people attend festivals in large numbers in Poland.