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BFI StatisticalYearBook_2014

British Documentary Foreign language Shorts Archive films BFFS booking scheme title* Films made before 2000 Alternative content events 2012/13 428 626 107 298 50 346 158 32 Chapter 10: Exhibition – 119 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 Figure 10.7 Number of film society/community cinema screenings by type, 2012/13 Number of screenings 700 600 500 400 300 200 100 0 Source: BFFS Notes: * The booking scheme provides BFFS members with access to a catalogue of over 700 non-mainstream films. Figures include both film societies and community cinemas. Of the 18 films programmed by 10 or more responding societies in 2012/13, four were British, and four were in a foreign language. The three most programmed films were French silent film The Artist followed by A Separation (in Farsi) and The Best Exotic Marigold Hotel (in English). Both The Artist and A Separation were first released in commercial cinemas in the UK in 2011 and The Best Exotic Marigold Hotel was released in 2012. Over half (57%) of all responding organisations held special events (eg screenings with guest appearances by the filmmakers, film themed social events, etc) in addition to regular screenings in 2012/13. The average audience size in 2012/13 was 67 (66 in 2011/12), and the sum total of all admissions from responding organisations was 212,796. Nearly half (46%) of community cinemas saw an increase in their annual admissions compared with 2011/12, and 40% recorded roughly the same number. The most commonly used format for screenings was DVD (used ‘usually’ or ‘sometimes’ by 92% of responding organisations), but the shift towards the use of Blu-ray reported last year continued in 2012/13. In 2010/11 almost half of respondents (49%) never used Blu-ray, but this fell to 29% in 2011/12 and fell further to 26% in 2012/13. This format was ‘usually’ used for screening purposes by 30% of respondents, up from 26% in 2011/12, while 44% ‘sometimes’ screened using Blu-ray. Other formats are still used by some societies. VHS was ‘sometimes’ used by 6% of responding organisations, 35mm projection was ‘usually’ used by 12%, and 2% of respondents ‘sometimes’ used 16mm projection. New digital screening formats are becoming increasingly available to community cinema providers, and their use continues to grow. Screenings via digital cinema were ‘usually’ or ‘sometimes’ used by 24% of respondents (compared with 10% in 2010/11 and 16% in 2011/12), and 8% ‘sometimes’ used online downloads/streaming. Figure 10.8 shows the percentage share of film society/community cinema admissions by nation and region in 2012/13. The South East accounted for half of the total annual admissions from responding societies (compared with 9% of admissions to commercial cinemas in the Southern ISBA region in 2013 – see Table 10.3). The South West region, which has a strong community cinema sector, accounted for 21% of film society/community cinema admissions, while the South West ISBA region accounted for just 2% of the UK’s commercial cinema admissions in 2013. Conversely only 3% of film society admissions


BFI StatisticalYearBook_2014
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