Geoff Lealand, Screen and Media Studies, University of Waikato, New Zealand email@example.com Gross New Zealand box office in 2012 : $NZ173.1m (2010=$176.5m) Cinema admissions in 2011 : 14 million (2003 = 18+m) Average movie attendance: 3.2 visits per year (2011) 470 screens in 2012. Twelve NZ-produced features earned 2.2% of domestic box office THE AUSTRALIAN BOX OFFICE Gross Australian box office, 2012 = $A1,125m Total cinema admissions, 2012 = 85.9m (43 Australian-produced films in 2012 earned 4.3% of domestic box office) Cinema typically attracts a young, upscale audience with higher than average disposable income. Whilst the likelihood of going to the movies is higher amongst the younger age groups, the highest growth segment in recent years has been the older ages. www.valmorgan.co.nz/audiences Aug 2012 These ‘younger age groups’ are also: • The least-inclined to go to local (New Zealand) films; • The most –inclined to spread good and bad word-ofmouth, through social media • The most-inclined to view films beyond the cinema (DVD, legal or illegal downloads) The younger audience is adept at digital media. They are more likely to pirate films or watch VOD movies at home and are keenly influenced by social media. If a film is bagged on Facebook or Twitter, it can die a quick death on the big screen. Michael Eldred, Madman Entertainment (2012) ARTHOUSE MOVIE AUDIENCES Typical arthouse movie viewers are more likely than the general population to be highly educated, affluent, professional, as well as being light commercial TV viewers. With the strong success of discerning titles on the mainstream cinema circuit, the lines are increasingly blurring between mainstream and Arthouse cinema. The recent box-office success of movies such as Black Swan, The King’s Speech and True Grit among others is evidence of how the repetoire of New Zealand moviegoers has broadened. www.valmorgan.co.nz/audiences Aug 2012 Older people are flocking to cinemas. But they don’t care for special effects. They want big characters, grown-up dramas and tales of late-blooming love. And so Hollywood’s changing its game. ‘How older viewers are rescuing cinema’, The Guardian 8 March 2012 Studios now targeting older auds…there are signs that the studios’ ageism is giving way to a recognition that the market place is changing. Dave McNary, Variety, Nov 24 2010 If there’s an encouraging lesson to be drawn from the recent performance of independent films in the international market, it’s that intelligent movies by strong directors are being embraced by audiences, while derivative, generic and poorly executed projects are being snubbed. Variety, May 14 2013 Figures released by the MPDA show arthouse cinema is experiencing a dramatic increase in popularity. Of the 306 films released in New Zealand last year , 189 were independently produced for the arthouse market. Just 117 were mainstream releases from major studios. www.stuff.co.nz/dominion-post/culture/6365875/Kiwi-cinema-industry-failing-amidpiracy THE ARTHOUSE SECTOR IN NEW ZEALAND is thriving! THE CINEMAS OF NEW ZEALAND SITE http://cinemasofnz.info Currently lists 80 reviews of arthouse/independent cinemas around New Zealand; anticipating at least 100 by the time all are included. Includes: boutique cinemas, community-run cinemas; independent multi-screens, with arthouse screenings; New Zealand-owned ‘mini-chains (Gold Cinemas, Lido Hamilton and Auckland + Capitol); private cinemas; film clubs/societies. New (2011-2012) cinemas include: Globe (Napier), Rubys (Wanaka), Cinema Paradiso (relocated, Wanaka), Cinema 3 (Pukekohe), Monterey (Howick) Closures include: Metro + Academy (Christchurch), Crooked Mile Talking Pictures (Hokitika) THE ARTHOUSE/INDEPENDENT AUDIENCE.1 • 50+ skew/retired/senior citizens + Film Festival crowd (more diverse); female dominated • Educated and affluent • Tending to middle-brow rather than high-brow tastes (anything with Helen Mirren in it…) • But also National Theatre on Screen and Opera at the Met THE ARTHOUSE/INDEPENDENT AUDIENCE.2 • Have considerable leisure time • Dislike the multiplex environment • Regard film-going as a social ritual (eg dining, ‘themed’ events’) • Multiplexes are now chasing this audience (‘boutique’ screens, ‘Retro Showcase’) • Estimated now to contribute 30% of the NZ box-office (Mark Christensen, State Theatre, Nelson, December 2011) TOP 10 FILMS OF 2012 IN NEW ZEALAND #6 The Best Exotic Marigold Hotel (20th Century Fox), $NZ5.375m Michael Eldred says his target market is unashameably [sic] the “empty nesters – baby boomers”, with what one independent film distributor labels “movies for your mum” … Boutique operators are investing heavily in their cinemas to create an “ambience” to attract their niche audience ..These people [are] more willing to take a risk with seeing a film from some exotic part of the world. www.stuff/co/nz/dominion-post/culture/6365875/Kiwi-cinema-industry-failing-amid-piracy OPPORTUNITIES • DC P has reduced overheads (projectionists, freight) but cinemas are still beholden to distributors; • Arthouse cinemas have revived film-going as a ‘special’ ritual eg Roxy (Miramar) • Arthouse cinemas are part of the tourist experience (eg Wanaka, Arrowtown) • New cinemas potentially offer more outlets for local film ALSO FILM SCHOLARSHIP? PROBLEMS AND CONSTRAINTS • The power structures (and personalities) involved in film distribution (no locally-owned distributors) • Prospect of expensive digital upgrades ($100,000$160,000) for small cinemas • Getting the young audience back to the cinema (downloading)? • Is the art house audience the last generation of filmgoers?