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BFI StatisticalYearBook_2014

Contents – 5 138 Chapter 13: Film on UK television 139 13.1 Programming on the terrestrial channels 142 13.2 Films on peak time terrestrial television, 2002-2013 143 13.3 Audiences for film on peak time terrestrial television 144 13.4 Top films on terrestrial television 146 13.5 Films on multi-channel television 149 13.6 The audience for film on all television channels, 2000-2013 150 13.7 The value of feature film to broadcasters 151 Chapter 14: The UK film market as a whole 152 14.1 The UK filmed entertainment market as a whole 153 14.2 The evolution of UK film revenues, 1998-2013 155 14.3 The UK market in the global context 157 Chapter 15: Audiences 158 15.1 Audiences for film in the UK 158 15.2 Cinema audience by age 159 15.3 Film preferences by age 162 15.4 Film preferences by gender 163 15.5 Film preferences by social group 165 15.6 Film preferences by nation or region 167 15.7 Film audience by ethnicity 168 15.8 Film audience by disability 169 Chapter 16: Film education 170 16.1 Learning about and through film 171 16.2 Film education in formal education settings 175 16.3 Film education as a progression route 176 16.4 Other film education activity 178 Chapter 17: Film, high-end television and animation production in 2013 179 17.1 The value of UK film production 182 17.2 The volume of UK film production 184 17.3 Productions by genre, 2010-2013 186 17.4 Budget trends 186 17.5 Size distribution of budgets 187 17.6 Big budget productions, 2008-2013 187 17.7 UK spend as percentage of total production budget 189 17.8 UK domestic productions by territory of shoot 190 17.9 Co-productions by territory of shoot 191 17.10 Production company activity levels 191 17.11 The value of high-end television production 192 17.12 Genre of high-end television production 192 17.13 The value of animation production 193 Chapter 18: Film, high-end television and animation productions certified as British 194 18.1 Qualifying as an official British film 194 18.2 Qualifying as an official British high-end television or animation programme 195 18.3 Film cultural test certifications, 2012 and 2013 195 18.4 Film co-production certifications, 2012 and 2013 196 18.5 Films with final certification, 1998-2013 199 18.6 Budget distribution of films with final certification, 1998-2013 202 18.7 High-end television programme certifications, 2013/14 203 18.8 Animation programme certifications, 2013/14 204 Chapter 19: Public investment in film in the UK 205 19.1 Public funding for film in the UK by source 207 19.2 Spend by agency 208 19.3 Activities supported by public spend on film 209 19.4 BFI Lottery awards, 2013 211 19.5 Leading public investors in British film production, 2010-2013 212 Chapter 20: Film industry companies 213 20.1 Number of companies in the film industry 214 20.2 Size distribution of film companies 216 20.3 National/regional distribution of film companies in the UK 218 20.4 Leading film production companies in the UK 220 Chapter 21: The UK film economy 221 21.1 Film industry turnover, 1995-2012 224 21.2 Film industry contribution to GDP, 1995-2012 227 21.3 Film exports, 1995-2012 228 21.4 Film imports, 1995–2012 229 21.5 The film trade balance, 1995-2012 229 21.6 Film export markets 230 21.7 UK film exports compared with the global market for filmed entertainment 231 21.8 The geographical distribution of the UK’s film trade surplus 232 Chapter 22: Employment in the film industry 233 22.1 The workforce 235 22.2 The gender of writers and directors of UK films 237 22.3 The workplace location 238 22.4 The scale of the workplace 241 Glossary 247 Acknowledgements 248 Sources


BFI StatisticalYearBook_2014
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