The following is the 2021 China film audience survey From China film daily recommended by recordtrend.com. And this article belongs to the classification: Life data, User Research.
In 2021, there were 1.167 billion film viewers in urban cinemas, a decrease of 563 million compared with 1.73 billion in 2019. Affected by the epidemic and the impact of various entertainment methods such as drama, variety show, short video and script killing, the overall upgrading of the entertainment market has also led to the diversity of audience selectivity, and the structure, consumption demand and viewing willingness of film viewers have changed to varying degrees.
In order to find out the real situation of the audience’s preferences for films and the current situation of film viewing and consumption habits, help Chinese films improve the quality, better respond to the audience’s expectations, and provide reference and basis for the development of the industry, the film industry research office of the film art center of the China Federation of literary and art circles launched a film audience survey.
The trend of film audience structure in China
Mature, professional and middle and high-income groups
The survey was conducted in the form of online questionnaire and distributed by relying on the lighthouse data platform. It was aimed at cinema viewers, and a total of 4000 valid samples were recovered. Gender, age and urban distribution proportion refer to the overall proportion of big data of cinema audience, in which the gender proportion of audience is 52.8% for men and 47.2% for women; The age ratio of the audience is 33.3% for those aged 25 and below and 66.7% for those aged over 25; The urban distribution is 13.8% in first tier cities, 44.9% in second tier cities, 19.5% in third tier cities and 21.8% in fourth tier cities.
On the premise of the above questionnaire, we got the basic information of the respondents:
1. After subdividing the age of the audience, we can see that the proportion of the audience in the age group of 30-34 is the highest, which is 25.9%; Then the audience aged 20-24 accounted for 23.1%, and the audience aged 25-29 accounted for 20.5%. Although the proportion of the three age groups is not widely different, the increase of people over the age of 30 breaks the distribution pattern in which young audiences are the main body in previous research, and the higher the age, the lower the proportion.
2. From the perspective of audience education distribution: the proportion of audience with bachelor’s degree is the highest, 69.2%.
3. From the perspective of audience occupation distribution: the proportion of company staff is the highest, 40.0%; Students accounted for only 17.4%.
4. From the average monthly income distribution of visitors: the proportion of visitors with a monthly income of 6000-10000 yuan is the highest, 27.5%; The total number of visitors with a monthly income of 6000-20000 yuan is more than 50%.
According to the comprehensive survey results, the structure of China’s film audience has shifted from young, student-centered and middle-income groups to mature, professional and middle and high-income groups.
The audience has a variety of entertainment and leisure choices
Good movies will stimulate the willingness to watch movies
The epidemic has brought about changes in lifestyles and habits. The characteristics of the times of Pan entertainment and rapid elimination have inevitably impacted the entertainment consumption behavior of film.
1. Short video has become the first choice of entertainment activities for the audience in their spare time
The survey results show that 82.7% of the respondents choose to swipe short videos in their leisure time on weekends and holidays; Followed by watching video websites and playing games, more than half of them; Only 39.6% of the respondents chose to go to the cinema, less than 40%.
It can be seen that when choosing leisure entertainment activities, viewers in the “post epidemic era” are more willing to stay at home and play with mobile tablets rather than go out to watch the big screen. Brushing short videos has become the first choice for leisure entertainment activities by overwhelming advantage.
Further, from the age distribution of the respondents who choose to “go to the cinema to see a movie”, with the increase of age, the proportion of choosing the cinema to watch a movie also increases, especially the audience aged 35-39 has the highest proportion, reaching 47.4%. Compared with young people, this age group has a stronger willingness to watch movies and is relatively less affected by new forms of entertainment.
2. In 2021, more than 60% of the audience watched the film in the cinema less than 6 times
In terms of viewing frequency, the index with a large share is to watch 4-6 films in 2021, accounting for 37.2%; The second index is to watch less than 3 films a year, accounting for 26.7%; Only 10% of the audience chose to watch the film more than 10 times a year.
The proportion of high-frequency audience is low, the average attendance rate of cinemas continues to decline, and the number of film viewers in urban cinemas decreases… The decline of audience enthusiasm will bring continuous pressure and impact on the survival of cinemas and the development of the industry.
From the urban line level data, the proportion of high-frequency visitors in first tier cities is higher than that in low tier cities, and the proportion of low-frequency visitors in fourth tier cities is higher than that in high-speed cities. Although there are few high-frequency visitors in the third and fourth tier cities, the population base of the third and fourth tier cities is 168 million, three times that of the first tier cities and two times that of the second tier cities. The population base determines that the third and fourth tier cities have the largest audience group and the largest ticket warehouse, but the viewing frequency is low, indicating that the schedule competition in the third and fourth tier cities will be more intense.
3. The main reasons for not preferring to go to the cinema:
There are too few good films
On the one hand, the number of films released has reached an all-time high, and on the other hand, the audience who are more and more reluctant to enter the cinema. Putting aside external factors, objectively speaking, the number and quality of films have been gradually improved over the years. However, 26.8% of respondents still think that “there are too few good-looking films”, which has become the main factor that audiences do not prefer to go to the cinema.
Secondly, with the popularity of electronic devices, the home theater viewing experience brought by mobile phones and even projection has had a great impact on cinema viewing through the Internet, and 23.7% of the audience feel that “it is more convenient to watch online”.
The survey results of online viewing frequency show that 60.9% of viewers watch online more than once a month, but less than once a week. It has been far higher than the cinema viewing frequency of less than 60% 6 times, which is equivalent to the cinema viewing frequency ten years ago. Film viewers are leaning from cinema viewing in the past to online viewing.
Unexpectedly, the issue of ticket prices was not highlighted in the survey. “Good looking” beat “too expensive”, and only 13.2% of the audience said that “ticket prices are too expensive” is the first factor affecting cinema viewing.
According to public data, the annual average fare in 2021 was 40.50 yuan (including service fee), an increase of 8.68% year-on-year. In our survey, 43.3% of the audience can accept the movie ticket price of 31-40 yuan, which is basically consistent with the actual average ticket price. For the case of individual high-quality films with nearly 100 yuan per film ticket in the Spring Festival and National Day archives, the high ticket price will inevitably cause dissatisfaction among the audience, and the acceptance rate of the average ticket price exceeding 50 yuan is only 7.6%.
4. The audience’s demand for the social attributes of the film is prominent
The emerging forms of entertainment consumption have significantly enhanced the public’s sense of participation and immersion. For movie audiences in the past, watching movies was to meet the aesthetic needs and audio-visual experience, but now the appeal of most viewers is social.
According to the survey data, 69.5% of the audience chose the cinema because of their friends’ social networking, followed by couple dating and family activities. Therefore, digging into the social functions of cinemas and expanding social space may become a breakthrough point to realize the competition between films and other entertainment methods (such as short videos, games, etc.), that is, to use space for time to attract consumers into cinemas, so as to explore the derivative value of films.
Judging from the audience’s choice of “friends socializing” and “couple dating” of different ages, young audiences still recognize the attribute of “couple dating” of the film. However, with the diversification of entertainment forms and the continuous rise of film ticket prices, it is obvious that “cinema viewing” is no longer the only choice for dating.
Plot theme and good reputation
It is an important driving factor for the audience
In order to understand the audience’s consumption habits and behavior choices in more detail, we make further investigation and analysis from the aspects of film acquisition channels, film publicity materials, film driving factors, film themes, lack of film types, selection of domestic and imported films, film evaluation and so on.
1. Film information acquisition channel: short video platform bears the brunt
In Kwai tiktok’s survey of the channel of information access, 61.4% of the viewers said that they got information from the short video platform like jitter and quick hand. The short video marketing led by the tiktok was large and covered by the whole age. The distribution of intelligence became increasingly the main battlefield of cinema marketing.
Secondly, ticket purchase platforms such as cat’s eye and ticket panning account for 51.4%. The advantages of online ticket purchase and the whole industry chain increase the accurate delivery of film information to ticket buyers.
Thirdly, we media platforms such as microblog and wechat account for 48.7%. Microblog is the traditional platform for the film to publish the main creative information, shooting progress, release schedule, preview, posters, etc., and to enhance the popularity of the film by mobilizing the star resources in the platform, big V word of mouth, fan economy, etc., making it easier for viewers to obtain the information and information of the film.
2. Promotional materials: Trailer / Theme Song MV, hot topic search
It can trigger the impulse of the audience to buy tickets
Surrounded by multi-channel information, film marketing is the first step to stimulate the audience’s impulse to buy tickets. Among various publicity materials, the trailer / Theme Song MV combines the picture, music and characters with refined plot fragments to increase the appeal and attraction. It has become the first choice to arouse the audience’s impulse to buy tickets, and 65.6% of the audience said it was useful.
“Topic + hot search” is an important expression of film popularity. It causes hot spots from multiple angles through topic fermentation and dissemination, “forwarding + likes” causes group effect, and the audience acceptance is 64.4%.
3. Movie drivers:
The plot theme is preferred, and the popularity of IP adaptation is no longer
Film marketing stimulates the audience’s impulse to buy tickets. Whether they can retain the audience or not depends on the work itself.
Among the many factors of the film itself, nearly 60% of the audience value the plot or theme of the film, and the content is the king. The audience more recognizes the story itself, which requires the creator to pay attention to the content itself, make more efforts in theme mining and plot performance, and seriously telling the story has become the primary standard for the audience to judge the film.
Actors and types are also important driving factors to determine the choice of movie viewing, ranking second and third, accounting for 47.6% and 40.3%. In addition, the proportion of IP adaptation accounts for only 9.3%. It can be seen that after several years of excessive consumption, IP adaptation has a serious imbalance between commercial interests and artistic value, resulting in no longer heat.
4. Movie theme:
Cases / crimes, social topics and feelings of family and country
Further investigating the film themes concerned by the audience and deeply understanding the audience’s viewing preferences, we found that the films with case / crime themes are the most interesting to the audience, accounting for 49.4%.
This kind of film has twists and turns in plot, which brings tension with multi clue, high fever brain narration and strong visual impact, which makes the audience easy to have immersion experience. Strong type, strong plot and audition are more suitable for large screen viewing. Although the market share is low, crime films account for only 3% of the 481 national films newly released in the cinema in 2021, However, among the top 20 films at the box office, there are four films: serious case of anger, manslaughter 2, surging crowds and decisive battle against the underworld, with a serious imbalance between supply and demand.
The second is social topic films, accounting for 41.8%. Through in-depth observation and analysis of current life, these films reflect the social problems and contradictions behind the rapid development of contemporary China, directly touch the hearts of the audience and cause strong resonance and reflection.
In addition, under the influence of the epidemic situation in 2020 and the background of the normalization of epidemic prevention in 2021, the audience paid 19.3% attention to the anti epidemic theme films.
5. Missing movie type:
Fantasy / science fiction, history / war, suspense / crime
In 2021, more than 100 million films released in cinemas cover love / youth, comedy, history / war, plot, action / adventure, animation, crime, family, etc., with breakthrough types and wide coverage, but the distribution is not balanced, and they are still dominated by plot, comedy, love and action.
Fantasy / science fiction, history / war, suspense / crime films were the most popular in our survey of “the types of films missing from cinema films”. Chinese audiences have been looking forward to fantasy / science fiction films for a long time. The emergence of “wandering the earth” has filled the expectations of audiences for many years, but a film can not save Chinese science fiction. While industrialized production and technical maturity, creators need to make more efforts in imagination, scientific and cinematic narration.
In recent years, historical / war films such as “King Kong Chuan”, “revolutionaries”, “1921”, “Changjin Lake” and “800” series have emerged continuously and achieved a double harvest of market and reputation. These new mainstream blockbusters have ignited the audience’s expectations and enthusiasm for these films with magnificent scenes, touching plots, vivid human and material images and shocking audio-visual effects. The audience’s needs have not been met, The new mainstream films of history / war still have broad prospects.
6. Domestic and imported films:
The gap between domestic films and imported films is getting smaller and smaller, and can produce empathy more
In 2021, 534 Chinese and foreign new films were released in the whole year, and the proportion of domestic films reached 84.5%. The number of imported films was significantly reduced compared with that before the epidemic, and the box office influence was far lower than that of domestic films. On the one hand, the epidemic may lead to limited recovery in the overseas market and insufficient film supply; On the other hand, it is the direct reflection of the audience’s aesthetic changes.
The survey shows that the audience’s recognition of domestic films is getting higher and higher, and more than 80% of the audience think that the plot of domestic films is grounded and can resonate more; Excellent production and performance; Inspire patriotism. Compared with imported films, more than half of the audience believe that the gap between domestic films and imported films is getting smaller and smaller, and imported films have no new ideas. If you don’t advance, you will fall back.
Domestic films are more and more in line with the aesthetic needs of the audience in terms of plot, production, performance, art and thought, and make the audience recognize their patriotism and cultural self-confidence. With the improvement of quantity and quality, they are more and more loved by the audience.
7. Viewing evaluation:
Sharing enthusiasm needs to be improved, and wechat microblog is the main channel
Viewing evaluation is the positive feedback of the most intuitive feeling of the audience after watching the film. Through the analysis, identification and evaluation of all aspects of the film, it not only expresses the audience’s expression of artistic aesthetics, but also provides thinking for the creators to optimize their future works. It is an essential part of the development of the film industry. However, on the whole, the enthusiasm of cinema audience for film evaluation needs to be improved, and more than 60% of the audience have not formed the habit of publishing film evaluation.
Among 36.1% of the people who will post their comments after watching the film, the sharing channels show the characteristics of diversification, mainly focusing on social platforms such as wechat and microblog, accounting for 45.2%. This conclusion is in line with the characteristics of the social attribute of the film, and the comment content is more free, interactive and extensible.
Ticketing platforms such as cat’s eye and ticket panning attract 24.1% of the audience to share the film evaluation on the platform. The evaluation content and score directly affect the viewing choice of subsequent viewers.
Douban and other film review platforms have attracted 23.8% of the audience for professional sharing. The sharing crowd is mainly professional fans. The content and score are more easily recognized by the general audience and have more reference value.
In the survey of “factors affecting the audience’s evaluation of the film after watching the film”, the story, internal value and audio-visual effect of the film are the three main aspects that attract more attention and have a final impact on the evaluation and reputation.
Media form and market change
New challenges breed new opportunities for Chinese films
Compared with the past, Chinese film audience has changed a lot. Under the impact of new media such as short video, the number of film audience and young audience is decreasing, and the age group of audience is increasing. The mainstream movie watching group in the past is now middle-aged, and this group of people still retain their former movie watching enthusiasm. However, young audiences who have no habit of watching films will have a long-term impact on the whole film market.
With the application of smart TV and projection technology, coupled with the uncertainty of the closure of cinemas during the epidemic, more and more viewers who like watching movies are gradually used to watching movies at home, and the frequency of online viewing is much higher than that of cinemas.
If you want the audience to return to the cinema, the cinema must have functions other than watching movies. For today’s audiences, aesthetic attributes give way to social attributes. We should use scheduling, marketing and other methods to develop the derivative value of films, fully tap the social attributes of films, attract young audiences and supplement a new force for our film market. At the same time, in terms of fare formulation, we should stabilize the healthy and benign development of the market with reasonable pricing.
In terms of creation, the audience is most concerned about the film story itself. Therefore, telling the story well and producing well are the core of high-quality films, and even the guarantee of film box office.
The higher the maturity of the audience, the stronger the demand for diversity, leaving more room for expansion to the market. Although the film output is stable at a high level, and there are phenomenal blockbusters that continue to break the box office record, there is obvious polarization. From the perspective of the abundance of excellent films and types, the supply is still insufficient. Creators also need to make more efforts in good stories, strong types and focus.
With the improvement of film industrialization, driven by a number of well-produced new mainstream films, the audience’s recognition of domestic films is getting higher and higher, and the attraction of imported films to Chinese film audiences is weakening. It is expected that the creators can further tell stories well, meet the aesthetic and spiritual needs of the audience, improve the audience’s cultural identity and cultural confidence, meet the diversified needs of the audience with high-quality works, create more high-quality works, and boost the high-quality development of Chinese films. More reading: 1919: big data of women’s wine purchase MIT: predictable personality exploration social report through mobile phone call records: online social insight of single women in Beijing, Shanghai, Guangzhou and Shenzhen (with download) China Mobile: insight report on the digital life of silver haired people in the first and second tier cities in 2020. Young people spend 1 / 3 of their online time on social media. Micro hot spots: analysis report on online attention of medical and beauty industry in 2020 Youmeng + & Youku: her trend report in 2020 (download attached) Netease: Portrait of empty nest young people, easy media mobile: Interpretation of “fruit powder” – either local tyrants, Or sell your kidney Australian millennials: shaping the future of real estate (with download) 2015 China Youth lifestyle survey Apple IOS icon color popularity ranking data interpretation: from the successful instagram post analysis of the secret of fashion brands in social media curiosity Institute: the survey found that the voice prompt of customer service call is the most annoying. American Academy of Pediatrics: children under the age of two should stop using smartphones
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