AS Media Studies

Study Notes
Unit G322 Section B
Audiences and Institutions

The Film Industry

Part 7
Exhibition

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What is Film Exhibition?

This is the process of showing a film to an audience, mainly referring to a cinema
environment, but with the advent of new digital projection equipment and DVD
players, screenings in schools, colleges, art centres and outdoor venues are future
possibilities.

Film exhibition in 2012

1. The UK had 3,767 screens, 96 more than 2010, in 745 cinemas.
2. There were six screens for every 100,000 people, the same as in 2010, but
lower than countries such as the USA (12.6 screens per 100,000 people),
France (9.1), Australia (8.8), Spain (8.4) and Italy (6.7).
3. The UK had the second highest number of digital screens in Europe with
2,714 screens (behind Frances 3,653 digital screens). The UK had 1,475
screens capable of screening digital 3D features (54% of all digital screens).
4. The average ticket price was 6.06.
5. 97% of all screens in the UK were located in town or city centres, out of
town or suburban locations.

UK box office and admissions up in 2012

Box office and admissions figures released this week show that the UK cinema sector
continued to perform strongly during 2012, despite the twin challenges of continuing
economic uncertainty and a packed sporting Summer. Total box office for UK in 2012
was 1,099,095,773, a figure 5.9 per cent up on that for 2011. UK admissions reached
172,498,775, representing a 0.5 per cent increase on the previous year.
This strong performance continued despite ongoing pressure on household incomes
and the fact that the Summer months saw not just the London 2012 Olympic and
Paralympic Games, but also the European Football Championships and the Diamond
Jubilee.
As might be expected, leading the charge was Skyfall, now the best-performing film
ever at the UK box ffice, and the first to break the 100 million mark in ticket sales.
But - as can be seen from the top ten films below - there was strong support from a
number of other movies, most notably The Dark Knight Rises and Avengers Assemble
both of which themselves topped 50 million:
Top ten films at UK and Ireland box office 2012
1.Skyfall (Sony Pictures): 101.0
2.The Dark Knight Rises (Warner Bros): 56.3m
3.Marvels Avengers Assemble (Walt Disney): 51.9m
4.The Hobbit: An Unexpected Journey (Warner Bros): 40.8m
5.The Twilight Saga: Breaking Dawn Part 2 (eOne Films): 35.5m
6.Ted (Universal Pictures): 30.3m
7.Ice Age: Continental Drift (20th Century Fox): 30.1m
8.The Amazing Spider-Man (Sony Pictures): 25.9m
9.Prometheus (20th Century Fox): 24.7m
10.The Hunger Games (Lionsgate): 23.8m

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While not scaling the heights of 2011, when The King's Speech and The
Inbetweeners Movie were to the fore, 2012 proved another good year for British film,
with Skyfall receiving strong support from The Woman in Black and The Best Exotic
Marigold Hotel:
Top ten British films at UK and Ireland box office 2012
1.Skyfall (Sony Pictures): 101.0m
2.The Woman In Black (Momentum): 21.2m
3.The Best Exotic Marigold Hotel (20th Century Fox): 20.3m
4.The Pirates! In An Adventure With Scientists (Sony Pictures): 16.7m
5.The Iron Lady (20th Century Fox): 9.6m
6.Nativity 2: Danger In The Manger! (eOne Films): 9.1m
7.Salmon Fishing In The Yemen (Lionsgate): 6.0m
8. Anna Karenina (Universal Pictures): 5.5m
9.The Sweeney (eOne Films): 4.5m
10.Dredd (Entertainment): 4.4m
With the release of Tom Hooper's Les Miserables very early in the year, British film
agains looks like it will be a strong feature of 2013 box office.

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What does a Film Exhibitor do?

1. Film bookings
After viewing the film from the distributors for release, the exhibitor will discuss the
release pattern and the financial deal to rent a film from the UK distributor. This is
based on projected ticket sales for a film, that is, box-office returns. The cinema
programming is scheduled by a film booker.
Some cinema chains, multiplexes and multi-screen cinemas operate from a central
point or a Head Office with a booking department. The smaller cinemas have an inhouse film booker responsible for programming specific films or film seasons. The
film booker working for each cinema chain is the person responsible for the films that
play in each cinema. The brief for a film booker is to find films that will attract an
audience for their cinema and reap a good financial return from the box office. The
exhibitor pays the rental fee back to the distributor that is determined by the price of a
cinema ticket within the cinema. It is up to the exhibitor to work hand in glove with
the distributor in marketing the film to the widest possible audience.
Most mainstream films are booked from three to six months in advance, and some
major US blockbusters can be booked up to a year in advance of their UK release
date. By July most film bookers will have scheduled the slate of films to be released
at Christmas.

2. The cinema building

The exhibitor will have posters and advertisements as well as the date and times of the
screenings of current and future films outside their cinema for the interest of the
general public. This is an attempt to draw the attention of the public to their cinema. A
passer-by who may not have the opportunity to read a newspaper or check the internet
will perhaps be encouraged by this publicity to go and see one of the films.
The foyer is the first area in the cinema that the audience experiences. Distributors vie
for space in the foyer to display posters, standees and other film publicity material and
merchandising. It is the cinema manager's job to make sure that the publicity is
current and relevant to films showing at their cinema.
The exhibitor/cinema is the 'shop front' where the film industry 'sells' films to the
audience. The foyers are committed to publicising the films with posters, standees and
concession promotions which all advertise the film. Once you are seated in the
auditorium, before the main feature, 'teaser' trailers and trailers are shown advertising
films that are soon to be released all aimed at attracting a future audience.

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Q1. How important is the appearance of a cinema in you returning? Use

examples from your own cinema visits.

3. Local Marketing
The exhibitor's role is important in promoting a film at a local level. The distributor
and exhibitor work together to maximise the audience for a film. The cinema manager
draws up a marketing plan which includes press advertising, local promotions and
competitions.
Conversely, cinema managers receive marketing information which keeps them
abreast of the distributor's efforts to promote a film. This document tells the cinema
managers what is happening and ensures that a film is, at any one time, efficiently
promoted at a local level by that cinema manager. The cinema manager can be
promoting a lot of films, films currently showing and those still due for release. This
could easily come to ten or more in one week.

4. Concessions - why popcorn is important for the film industry

Money taken at the box office alone is not enough to give the exhibitor/cinema a
profit after paying the rental fee, especially if the film is a failure. The popcorn, icecream, sweets and hotdogs you can buy at the cinema are known as concessions. The
concession stands in both multiplexes and independent cinemas provide an additional
source of income to the exhibitor.

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5. Local press
The most common form of marketing
that the exhibitor will undertake is to
buy space in local newspapers to
advertise the films they are screening.
This space can be in free newspapers
and trade papers or ones which are paid
for. These advertisements will often
appear on the day of the films'
changeover which is usually a Friday,
as many chains do between 30-60% of
their business during the weekend
period. Research shows that
advertisements in local newspapers are
one of the key ways in which people
find out about films screening at their
local cinema though since 1997 this
has been overturned by the increasing
availability of access to the internet.

6. Promotions and competitions

These are part of the overall marketing plan the exhibitor has drawn up for the
distributor to maximise awareness of the film. They can take the form of competitions
in local newspapers or in the cinema foyer e.g. 'spot the difference' games, quizzes on
stars, with give-away cinema tickets, or merchandise from the distributors as prizes.
This also ensures editorial coverage of the film in the local press: it is a good two-way
relationship the film is covered and the newspaper has something which is
entertaining to fill its pages.

7. Trailers
The trailer often plays in the cinema around six weeks before the release of a film and
continues to play until the film opens in the cinema. The trailer aims to raise audience
awareness of a film by fixing the film title in their minds. It gives an overall
impression of the film to its potential audience making sure that the audience is aware
of the stars particularly where their names will help to sell the film. A trailer should
create the desire to see the film when it eventually opens.

Audience - Who goes to see films?

Remember - in this country the majority of the cinema going public are aged
between about 16 and 24 years old. Statistics show that they are the group which
have the time and money to go to the cinema. It is this age group therefore that need
to be targeted by filmmakers, distributors and exhibitors to encourage them in, and
then back to, the cinema.

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However, the location of new multiplex cinemas has also led to the development of a
more family-catered audience who are attracted to the nearby shopping or leisure
facilities as well as to the cinema itself.
As the cinema's image has changed and become more up-market with high-grossing
films, the price of cinema seats has reflected this change and risen dramatically. It can
cost 16 or 17 to see a film in central London and yet cinema audiences continue to
rise. Can you think of any reasons why this is so?
If the reasons are not purely economic, then the image of cinema going must surely
play a part. The multiplex complexes are popular despite often involving a good deal
of travelling beyond local public transport. We must now consider whether the
cinema-goer is as interested in the facilities surrounding the cinema in which the film
is seen as in the actual film on the screen.
A good, well publicised film will still draw large audiences, but faced with a poor
cinema showing a good film, and a stylish cinema showing a selection of average
films, the general public may well opt for the more pleasant up-market surroundings.

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Background to the Cinema Exhibition in the UK

Go here to find out more: http://www.cinemauk.org.uk/about-the-industry/

Most of the screens in the UK are owned by one of the major cinema chains. Vue,
UCI/Odeon or Cineworld.

The cinema sector is still in some turmoil at present with two major chains having
been sold in the last 10 years (Warner Village Cinemas was bought by Vue cinemas in
2003) and up to three others available for sale.
(May 13, 2003) Vue International Cinemas, the developer and operator of state-of-theart-cinemas, today announced its acquisition of the Warner Village Cinema chain in the
UK. The purchase of 36 Warner Village sites nationwide boosts its number of multiplex
cinemas from 6 to 42 overall with a total of 384 UK screens

The advent of digital cinema may change this landscape somewhat, but no-one is yet
making the necessary investment in digital projection equipment and distribution
systems. The UK Film Council are supporting independent cinemas' acquisition of
digital technology.
The world's first digital cinema network will be established in the UK over the next 18
months. The UK Film Council has awarded a contract worth 11.5m to Arts Alliance
Digital Cinema (AADC), who will set up the network of up to 250 screens. AADC will
oversee the selection of cinemas across the UK which will use the digital equipment.
High definition projectors and computer servers will be installed to show mainly British
and specialist films. Most cinemas currently have mechanical projectors but the new

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network will see up to 250 screens in up to 150 cinemas fitted with digital projectors
capable of displaying high definition images. The new network will double the world's
total of digital screens. Cinemas will be given the film on a portable hard drive and they
will then copy the content to a computer server.
(BBC News Feb 2005)

More recently, Cineworld snapped up the arthouse cinema chain Picturehouse, owner
of the Ritzy cinema in south London and the Phoenix in Oxford, in a deal worth
47.3m. The deal unites two very different cinema chains, with Picturehouse's films
catering for an older, more highbrow audience while Cineworld's mass-market
multiplexes tend to attract 18- to 24-year-olds interested in the latest 3D blockbusters.
Cinemagoers at the Clapham Picture House, south London, on Thursday night did not
welcome the news. Rachel Smith, who lives locally and takes her children to the
cinema, feared it would become less independent. "I think it's awful," she said.
"Cineworld is big and faceless and cold. The Ritzy and the Picture House are not like
that at all. The staff have really good film knowledge and are warm and personable."
The multiplex giant, which runs 80 cinemas nationwide, stressed nothing would
change at Picturehouse under the new ownership. It pledged to run Picturehouse as a
separate entity, with all 750 staff staying on. But Cineworld's financial clout will
enable the indie chain, Britain's biggest independent, to open 10 cinemas from 2014.
The news coincided with the opening of Picturehouse's 21st cinema, The Duke's at the
Komedia cabaret venue in Brighton.
The deal includes the distribution arm Picturehouse Entertainment, which launched in
2010 with the 200,000 grossing My Afternoons With Margueritte and the bittersweet
comedy Liberal Arts, which was released recently.
The UK cinema market is now dominated by three players Odeon & UCI, Vue and
Cineworld which control 70% between them. Private equity-owned Vue bought a
rival, Apollo, for 20m in May while the financier Guy Hands bought Odeon and UCI
in 2004 and merged them to create Britain's biggest operator. Picturehouse had sales
of 30.3m last year and a pretax profit of 2.5m. Bowcock believes the acquisition
will create value for Cineworld shareholders. "It's profitable, there is demand for it.
The population is getting older and people are spending more money on leisure time."
Cineworld, which employs 4,000 people, has raised 16m by issuing new shares to
fund the deal, and Goleby has put 1m of her money into the share placing. City
analysts said the move made sense for Cineworld. Investec analyst Steve Liechti said:
"This looks an interesting move into the high value, older demographic,
individual/arthouse cinema market and adds a new growth segment. We believe
Cineworld can add material value to Picturehouse given its balance sheet strength and
buying power."

Q2. How significant do you think this consolidation of the exhibition market
into 3 big players will be to audiences? What will it allow exhibitors to do?

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Cinema Exhibitors How do they make money?

Ticket sales are only one aspect of a cinema's revenues. In 2001, ticket sales
contributed about 66% of total revenues, with concessions income and pre-film
advertising accounting for around 16% each. On average, cinemas generate 1 of
concessions income and 1 of advertising revenue for every person who buys a ticket.
These figures are averaged across the multiplex chains and independent cinemas - in
practice, the multiplexes tend to make more from sales of popcorn and drinks than the
independents - between them, the top three chains sell some 16 million buckets of
popcorn a year.
Over the past twenty years cinema going in the UK has experienced something of a
renaissance. Attendances have increased from just fifty million a year to nearly one
hundred and eighty million. Experts are divided about the reasons why this should
have happened. Is it that there are better quality films around that people want to see?
Is it that there are now more comfortable cinemas for people to visit?
Up until the mid 1980's cinemas in many countries, particularly the UK, Italy and
Germany had received very little in the way of investment and because of this many
cinemas deteriorated. Whereas once a trip to the cinema meant a visit to somewhere
that was more comfortable than home, the state of British cinemas in the early 1980's
meant that people were visiting run down, uncomfortable places.
In the 1970's large, single screen cinemas had been cheaply converted into three or
four screen cinemas. This would often mean that the audience in one screen could
hear what was happening in the film on the screen next door. This detracted from the
enjoyment of the film and consequently caused a drop in audience attendance at the
cinema.
With audience attendance levels declining box-office takings waned. The Hollywood
distributors found themselves particularly affected by this. As a result of this decline,
the major US studios realised that they would have to revitalise and invest in the
European exhibition industry (its worth 60% of the overall international market) if
their own production industry was to survive.
Exhibitors also begun to realise that as well as selling films to audiences, they also
have to sell their own cinemas as the best place to go and see these films.
It was the major American studios, such as Universal, Warner Bros. and Paramount
who were the main investors in the development of multiplexes around the world.
Through detailed research they came to the conclusion that many countries did not
have enough screens to cater for the audience that they were trying to develop. In the
mid 1980's they also realised that the state of many cinemas in countries such as the
UK was so bad that people would not want to visit them. Thus, through the building
of multiplexes, companies hoped to encourage many more cinema goers into their
cinemas and stimulate interest and excitement.

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Distributor and Exhibitor Relationships

The distributor and exhibitor share the risk of marketing films. Generally, the
distributor bears more of the risk if a film performs badly, but they normally also gain
more from the upside if a film does well. The distributor will make more money from
a film doing well in a single cinema than if the revenues are split between a number of
sites. They will, therefore, try to restrict the number of prints available to maximise
their income from each site.
How Exhibitor/Distributor Deals Workbriefly!
There are three different types of deal that an exhibitor might enter into with a
distributor:
i) The House Nut - The House Nut is a figure calculated to represent the costs of
running the cinema. In a house nut deal, the rental paid to the distributor will be either
25% of the gross Box Office or 90% of the Box Office minus the house nut (what it
cost to run the cinema) whichever is greater. This is the deal structure generally
favoured by the majors.
ii) Scale - Under this arrangement, the amount payable to the distributor rises
according to the amount that Box Office exceeds a pre-set break figure, which is often
capped at 50%. Exhibitors will often offer guaranteed minimum payments and the
parties may agree special terms to cover overages if the film performs particularly
well. This structure is often used by independent distributors.
iii) Percentage - Finally, the parties might agree a straight percentage split of the Box
Office. This type of deal is becoming increasingly common in the UK, being used for
expected blockbusters.

Key Issues in Cinema Exhibition its as simple as abc

a. 3D cinema
Modern digital 3D is fundamentally different from the 3D cinema audiences have
seen in the past.
Of the 2,714 high-end digital screens in the UK in 2011, 1,475 (54%) were 3D-capable
digital screens. Some of the popular 3D screenings in 2011 included Arthur Christmas,
Harry Potter and the Deathly Hallows: Part 2, Pirates of the Caribbean: On Stranger
Tides and two documentaries, TT3D: Closer to the Edge and Cave of Forgotten Dreams.
BFI Handbook 2012

3D films have existed in some form since 1915, but had been largely relegated to a
niche in the motion picture industry because of the costly hardware and processes
required to produce and display a 3D film, and the lack of a standardized format for
the business. Nonetheless, 3D films were prominently featured in the 1950s in US
cinema, and later experienced fleeting popularity at various points during the 1960s,
1970s and 1980s.

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What makes modern digital 3D different from its previous incarnations is first of all
the technology. Digital technology allows the right eye/left eye images which create
the stereoscopic effect to be matched perfectly in every frame. Previously even slight
imperfections in this process, inevitable in the 'hand-matching' that was necessary
with 35mm 3D, meant that the brain had to work harder to make sense of the two
images, leading quickly to tiredness and even nausea on the part of the viewer.
Second, it is probably not unfair to say that the creative people behind earlier 3D films
were at best journeymen within the industry. Modern digital 3D has attracted the
foremost creative talents of our age - James Cameron, Steven Spielberg, Peter
Jackson, Martin Scorsese amongst them.
Finally, previous interest in 3D was generally prompted by a cinema sector
experiencing pressures and urgently looking to find new ways to attract audiences to
the big screen experience. While there is no room for complacency, the current
cinema sector is comparatively buoyant - the drivers of 3D are as much creative as
they are economic.
It is recognised that 3D is not right for every film, but where it is fully embraced by
the Director and done well, it can offer a truly fantastic experience. A key tipping
point for 3D cinema was with the release in 2009 of James Cameron's Avatar, the
highest grossing film of all time, earning almost $2.8 billion worldwide.
3D technology of course costs money for both the film maker and the cinema to offer
the experience. This is generally reflected in an uplift on ticket prices for 3D films
which enables the industry to continue making more 3D films and bringing them to
UK and global audiences. In terms of market share, in 2011, 47 films were released in
3D, taking circa 231.5 million at the box office, circa 22 per cent of the total annual
UK box office for 2011.
At the end of September 2012, the UK cinema sector had 3,368 digital screens
(around 88 per cent of the total UK screen base) with 1550 of these screens being
capable of offering 3D.

b. Digital cinema
The advent of digital cinema offers the opportunity to enhance the cinema-going
experience in terms of picture quality, more diverse programming and in offering
audiences the chance to experience cutting-edge digital 3D. The transition to digital
cinema in the UK is now approaching completion. At the end of June 2012, there
were 3,216 digital screens - around 84 per cent of the UK screen base - of which some
1,535 were 3D-enabled. While the benefits to the cinema-goer will become
increasingly apparent, it remains the case that the key financial benefits from these
developments accrue to the distributor.
Distribution of films is currently via 35mm celluloid prints, which are expensive to
produce and to transport. Digital technology offers the opportunity for the distributor
to produce and transport copies around the country (via the internet or satellite) at a
significant cost saving. Against that, while as systems develop these are likely the
come down to a degree, the costs for many cinema exhibitors of converting their
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cinema will remain prohibitively expensive. The CEA therefore strongly believes that
it is the studios and distributors, rather than the exhibitors, who should meet the bulk
of the costs for this transition.
In the US and Europe, various third party organizations have proposed financing and
installation plans to exhibitors, backed by agreements with the studios. Under these
plans, the third parties raise the necessary finance to buy and install digital equipment
in cinemas, with the studios over time paying "virtual print fees" (VPFs) to the third
parties for the use of the equipment.
From the outset of the transition, the CEA (Cinema Exhibitors Association) was keen
to ensure that as many of its members as possible were able to make the transition to
digital, should they so wish, without experiencing financial hardship. As a result the
Association The Association therefore supported the establishment of the Digital
Funding Partnership (UK) [DFP(UK)] a grouping of small and medium-sized
operators brought together to negotiate the best possible funding deal to support
digital conversion.

c. DVD release window

The theatrical window is the number of days between a films official theatrical
release and its release on DVD/video rental. Over the last 10 years, the size of the
window in the UK has fallen significantly, from around from 27 weeks in May 1999
to an average of 17 weeks at the current time. Changes to the release window are a
matter for negotiation between the studio and exhibitor concerned. But in general the
CEA would be concerned about any changes which might have a negative impact on
the UK cinema industry
Cinema is not the music industry, where existing business models are widely seen as
broken. UK cinema admissions have been steadily rising for the last 25 years. Many
cinemas have invested huge amounts of their own money in improving the cinemagoing experience, most recently through digital 3D. Without a clear window between
a film's theatrical release and its release on other platforms, such as DVD, that
investment is at risk.
Significant changes to the release window could cause a marked reduction in cinema
admissions, particularly for those smaller operators who can only play a film several
weeks after it is released. Hundreds of cinemas up and down the country would be put
at risk by any significant reduction in admissions. The impact of this would be lost
jobs and businesses. But more importantly still, it would result in less film choice and
less opportunities for the public to see movies where they were intended to be seen
the cinema."

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Types of Cinema in the UK

In the UK, there are three main types of
cinema exhibition environments:

1. Multiplex
A North American concept, the first UK
cinema opening in Milton Keynes in
1985 owned by the American MultiCinema Corporation (AMC).
The UK cinema market continues to be
dominated by three major exhibitors;
Odeon UCI, Cineworld and Vue. In total
they account for over 70% of the total
market box office and provide over 60%
of the total screens in the UK. The rest of
the market is represented by smaller multiplex chains and independents which tend to
operate non-multiplex cinemas (less than five screens).
This situation has remained largely constant because of the significant barriers to
entry, both through acquisition and organically. The rate of new cinema openings has
been falling in recent years, partly due to the limited number of new retail and leisure
development opportunities and the long time it takes to bring developments to
fruition. This has been exacerbated more recently due to reduced funding for
developers in the present financial climate, though confidence has started to improve.
Cinema attendance is quite resilient in the economic and consumer environment. The
low price of going to the cinema compared to other forms of leisure and the desire for
escapism have remained key attractions. Underpinning the overall success in the last
few years has been the strong line-up of films, the ongoing conversion to digital and
the growth in the number of films released in 3D format:

Q3. Find out more about Vue, Odeon and Cineworld cinemas who owns
them?
The multiplex cinema is a new building situated on the edge of a large conurbation or
city and houses between eight to fifteen screens. The US distributors determined that
cinemas should be located close to large shopping centres, restaurants and other
leisure pursuits (bowling, ice-skating rinks etc.) to attract as wide a potential audience
as possible. Easy access and parking for cars, an opportunity to combine a cinema
visit with a shopping spree and a meal out has changed the concept of cinema going
and seems to have been fundamental to the success of the multiplex. It has turned
cinema going, literally, into a 'family centred' activity.
The number of screens can range from 12-15, and in some cases up to 25, such as Star
City in Birmingham. However, this `megaplex', which boasted shops, restaurants, a
tattoo bar and screens that were to be dedicated to art house and Bollywood fare, has
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proved to be problematic. While there is a greater representation of Asian cinema than

usual for a multiplex, reflecting the local demographic, the commitment to art house
cinema appears to have fallen victim to the Hollywood juggernaught. Multiplexes
claim to offer a wide range of choice, but in reality, across the country they will all
play the same 8-10 core titles.

Q4. Although audience choice was a central part of the success of the multiplex
what actually have multiplexes allowed exhibitors to do?
Summary of UK cinema admissions and the number of screens in operation
1985-2002
Admissions
(million) (1)

Total Number
of screens (2)

Number of Multiplex
Screens (3)

1985

72

1,251

10

1995

124

1,969

683

2011

176

3,760

2,833

Each screen of the multiplex has a different seating capacity so that the exhibitors can
cater for very popular mainstream films with a large audience attendance alongside
lesser known art house or specialist films with a limited audience.
These multiplexes have allowed a range of films to be shown, usually with different
start times, and allowed customer choice to be central to the visit to a multiplex.
Sophisticated sound and image technology has been installed into these multiplex
cinemas which offers the audience a more exciting experience.

2. Multi-Screen Cinema

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Slightly different to the large, out-of-town multiplex - the multi-screen cinema is an

upgrade of the old 1970s flea-pits. Not only were these old cinemas renovated, but
the old large single auditorium cinemas with an audience capacity of fifteen hundred
people, were divided into three to eight screen cinemas. These became known as
multi-screen cinemas. The multi-screen cinemas echoed the multiplex notion of
offering a choice of films in a modern, comfortable environment. However, they
attracted a different type of audience from the multiplex due to their city centre
location. Very few can offer the large car parking facilities of the multiplex but most
are easily accessible by public transport and are convenient for those working or
shopping in the city centre.

3. The Subsidised Sector (Community Cinemas)

A number of venues across the country, both full time and part time, are revenue
funded by grant in aid from various sources. Each venue and organisation has to hit
certain criteria before funding is given (business plans, strategies for education,
marketing and artistic programming, financial forecasts, etc. are required). The venues
may also get funding from local authorities, the National Lottery, sponsorship, Europe
and also, of course, from the box office.
Their programmers endeavour to put on the widest range of cinema possible,
combining film screenings with a range of special events such as regional filmmaking
forums, director/actor workshops, digital video work and mixed media events. Some
venues instigate their own festivals and touring programmes.

4. Commercial Art House

A number of commercial cinemas across the country now mix art house and multiplex
programming, the most local being the Picturehouse (including the Ritzy), Curzon or
Everyman chains.

Q5. Find out more about these art-house chains? How are they different from
the multiplexes?
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The Future of Cinema Exhibition in the UK

At the moment, both distribution and exhibition sectors are going though a time of
massive change. The Government set up the UK Film Council in 2000 to create a
'sustainable UK film industry' and there has been many changes in the funding system
with various lottery schemes, new Regional Screen agencies being created and the
development of regional Arts. More positively, as discussed earlier the UKFCs
Specialised Prints and Advertising Fund gave 1 million in 2003 to selected
distributors who wanted to create more prints and more marketing for selected nonmainstream, specialised films, which in turn will hopefully increase audience access.
With the BBFC now gone, will the BFI step up and continue their good work?

Cinema is not just about films Live Opera in the Cinema

Alternative content (AC) or non-feature film programming like live theatre and opera
has become a regular feature over the past five years in the UK as more cinemas
become equipped with digital screens. The availability of a digital screen base has
allowed a wider range of content on the big screen, allowed interactivity between the
screen and the audience and potentially improved the use of auditorium capacity
during typically quiet periods. Also, since alternative content events usually have only
one or two screenings they tend to generate higher occupancy rates than feature films.
In the last few years such events have ranged from live or recorded operas, ballets and
pop music concerts to film screenings with live question and answer sessions and live
sporting events. There were 109 alternative content events screened in UK cinemas in
2011, more than double 2010s 54 events, according to Screen Digest (Figure 10.4).
As in earlier years, in 2011 with 43 events, opera was the most popular form of
alternative content, followed by ballet with 17 events. The Met Opera had previously
been the company with the most screenings of its performances but its success
attracted other cultural institutions into the cinema. In 2011 these included the
Bolshoi, the ENO, La Scala, the Vienna State Opera and the Zurich Opera House.
Popular music was also well represented with 13 events, which included recorded
shows of live performances mixed with interviews and documentary, and also live
performances. Of the 12 films shown, eight were documentaries and the others
included a live element where the film was followed by a question and answer session
with members of the cast or production teams.

Community Cinema
The screening of feature films in the UK is not limited to cinemas belonging to the
major cinema operators. There is a thriving sector of voluntary providers which make
a wide variety of films available to local communities which are often underserved by
the commercial operators. This sector is often referred to as community cinema.
Members of local communities are generally more involved in the programming of
such cinemas than their commercial counterparts. Screenings of films in this sector
are in venues such as village halls, mixed arts spaces, independent cinemas and the
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like.

Conclusion
There are many forces that come together to shape the pattern of what ends up on UK
screens. Some of these arise from the practices of film distribution as a complex
monopoly that holds the balance of power over exhibitors whilst also marginalizing
independent distributors. At the same time, intense competition between cinemas
means that most multiplexes prioritize the same titles, whilst ignoring others. Whereas
this has been found to maximize admissions, the policy has also had the detrimental
effect to cinemas of raising their film hire costs. For film viewers, the most notable
effect of these economic pressures has been the failure of the escalating number of
cinema screens to significantly expand their viewing choices.
The UK Film Council sought to breach the barriers faced by exhibitors and
distributors who wish to make available a wider range of quality filmmaking. In 2002
it acquired a 17 million budget to promote niche product in the UK. Part of this was
made available to distributors for the marketing of specialized films. Enhancing
awareness of alternatives to the mainstream helps to increase its attractiveness to
cinemas and the public alike. The bulk of the budget has been allocated to cinemas
themselves, in order to create a virtual circuit of digital art house screens in both
multiplexes and small independent sites around the country. In May 2005, the Film
Council named the 209 sites that would benefit from the installation of 238 digital
screens, which would be devoted to more specialised (i.e. non-Hollywood), classic,
and foreign language movies. This process is currently well underway and is due for
completion in 2006.
The adoption of digital projection reduces the cost to distributors of striking and
shipping film prints. This makes viable the provision of specialized product to a larger
number of cinemas. This will be a boon to the art houses that already rely on such
films but who often find it difficult to obtain them on or close to the release date when
public awareness and demand is generally at its highest. At the same time, the
obligation of participating multiplexes to play specialized product will increase its
geographical provision outside the metropolitan areas in which most existing art
houses are located.
Publicly funded government intervention, administered by the UK Film Council or
the BFI may indeed prove to be the only way of sustaining the availability of niche
product to audiences across the UK. There is great optimism that the emergence of
high-specification digital projection will make a tangible difference in the near future.
In the meantime, though, the dominance of film exhibition by multiplex chains shows
every sign of engendering an increasingly homogenized experience of cinema going
for most audiences.

Q6. What are the BFI doing to help promote niche films to UK
audiences?

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Q7. Exhibitors are the route to customers. All film makers think
carefully about how their production decisions affect the exhibition
sector. What do you look for in a cinema?

Q8. Exhibitors are increasingly involved in promoting independent

films locally - where personal appearances by cast and crew can
generate good press. How might this affect the production of low
budget British films?

Q9. The exhibition sector in the UK has grown rapidly but now is a
period of some consolidation. The advent of digital technology is
raising some interesting issues for the relationships between
producer, director and exhibitor. What do you think might happen in
the future?

Q10. Do you think independent cinemas will survive in the future?

Write a paragraph on each.

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