BFI Gothic Outcomes evaluation Summary report. Bigger Picture Research on behalf of the British Film Institute

Transcription

1 BFI Gothic Outcomes evaluation Summary report Bigger Picture Research on behalf of the British Film Institute August 2014

2 Contents Executive summary 3 1. Introduction Gothic: The Dark Heart of Film About the evaluation 8 2. Outcomes Discussion and lessons Discussion Lessons 20 Appendix 1: Data collection methods 25 Appendix 2: Fieldwork 27 2

3 Executive summary A multi-platform exploration of the Gothic tradition on film, enjoyed by audiences and acclaimed at home and internationally, that promotes fresh insights and understanding of the genre; extends BFI s reach and leads to further engagement with the BFI; fosters new partnerships; delivers revenue growth; and strengthens the BFI s reputation as a cultural leader. (BFI Gothic evaluation data collection plan) Gothic: The Dark Heart of Film was the first ever nationwide, multi-platform season hosted by the BFI and partners. It ran from late summer 2013 to spring 2014 and comprised screenings and special events, archival content, online activity and education projects, along with tie-ins across DVD/ Blu-ray, VOD, publishing and merchandising. This evaluation examined Gothic from the perspective of 27 outcomes organised under five headings (reach, audiences, partnerships, revenue, reputation) derived from the season goal. Using desk research, an online audience survey and interviews with delivery partner and BFI executives, the present report assesses achievement against these outcomes and identifies key lessons for future seasons. A summary of performance is given in Table E1. While not every outcome was achieved in the way intended, judged on its own terms the season as a whole was largely successful, offering proof of concept that multi-platform delivery involving a variety of partnerships can produce valuable outcomes for audiences, delivery partners and other stakeholders. Most important of all, the season represented a milestone in risk-taking cultural programming. The question of whether Gothic offered value for money goes beyond the immediate scope of this evaluation, which was never intended to provide a detailed financial assessment. It remains open to the different business owners and budget holders inside the BFI, who are best placed to answer while taking into account the findings of this report. The main lessons from Gothic were as follows: Planning and coordination Longer lead time needed for planning Exhibition partners should be involved on a more equal footing Delivery Season is labour and resource intensive There is no benefit to a lengthy season run Season pillars were helpful structuring devices Co-ordinated marketing is key, especially online promotion Administration and reporting Single point of coordination across FAN projects is helpful Timely, standardised data collection and reporting is essential Reporting needs qualitative dimension alongside the numbers The true value of this round of Gothic data collection is as a preparatory exercise to establish baseline data against which to evaluate future seasons. So while the present study has struggled at times for meaningful benchmarks, future research will be able to refer with confidence to Gothic data and draw appropriate comparisons. 3

4 Table E1: BFI Gothic report card summary Outcomes REACH AUDIENCES PARTNERSHIPS REVENUE REPUTATION Achieved? 1. Increased opportunities for audiences to participate in a nationwide blockbuster season 2. Increased visitor numbers across participating venues (funded and non-funded) and events 3. Increased number of new visitors to BFI Southbank, special events and out of London screenings 4. Audiences who don t identify as horror fans are attracted to screenings and events 5. Audiences who don t normally watch classic or archive films come to these performances 6. Increased BFI DVD sales and BFI/Palgrave publications 7. Greater number of visitors to BFI web site and other digital platforms 8. Greater number of new visitors to BFI web site and other digital platforms 9. BFI membership increased 10. Screenings and events achieve high levels of customer satisfaction from audiences 11. Audiences share Gothic-related content through social media and engage in online conversations 12. Audiences are encouraged to explore, use or attend other BFI events, products and services 13. Improved audience perceptions of the BFI 14. Participants have improved knowledge, understanding & appreciation of Gothic & genre film 15. Greater awareness of the importance of film curation, restoration and preservation 16. Gothic s historical links with British culture are better understood and appreciated 17. A new, mutually beneficial way of working for the BFI, the FAN & other partners is developed 18. New partnerships established, including delivery partners and financial supporters 19. Partnerships deliver multi-platform access to film outside London 20. Content is syndicated to third party promoters 21. Financial and promotional partnerships are established with broadcasters, media and brand partners 22. New and existing partnership working extends impact of BFI Gothic 23. BFI is valued and trusted by existing and new partners 24. Revenue targets (box office, DVD and publication sales, BFI Player etc.) are met or exceeded 25. Merchandise range returns a profit 26. BFI s profile as a cultural leader, at home and internationally in traditional and online media, is increased 27. BFI s cultural leadership is seen as dynamic and innovative Key = the outcome has been achieved. = evidence indicates some success, but the outcome has not been achieved in full or evidence is incomplete. = the outcome has not been achieved or no evidence of achievement exists. 4

5 1. Introduction The BFI will take Britain back to darker times and thrill the nation by uncovering as never before the dark heart of film [ ] Gothic will explore film s most popular theme, spawning some of the medium s most iconic, powerful and terrifying scenes and characters whose lasting popularity just refuses to die Gothic: The Dark Heart of Film Billed as a celebration of gothic film and TV across the UK, the blockbuster Gothic season ran from late summer 2013 to spring As the sobriquet blockbuster implies, Gothic was more ambitious than previous seasons, in terms of: its nationwide scale and reach; its cultural breadth and range of delivery partners; and the variety of platforms involved. The idea for a national cultural programme led by the BFI, manifested in the form of a blockbuster season, was first described in Film Forever, the BFI s five-year strategic plan published in Designed in response to a longstanding frustration at our inability to share [cultural] programmes across the UK, the BFI saw an opportunity to harness new digital technologies and build nationwide partnerships to provide more people across the UK with more choice, more voices and more perspectives to truly reflect the diversity of the UK and the world. The multi-partner, multiplatform approach of the three-month Genius of Hitchcock season referenced in Film Forever provided a blueprint for this new way of delivering cultural programming, although from the outset Gothic was altogether more ambitious. Although the Hitchcock season helped model the approach taken to Gothic, it is not directly comparable in scale or intent and therefore cannot provide a reliable benchmark. Launched at the end of August with a Monster Weekend of features performed at the British Museum (Night of the Demon, 1957; Dracula, 1958; The Mummy, 1959), Gothic was structured around four pillars or themes that explore different facets of the genre (BFI Marketing Department Creative Brief Gothic 2013 v5): Monstrous The Dark Arts Haunted Love is a Devil These served several purposes, running sequentially and therefore helping to break up the season over its lengthy run and enable fresh marketing messages tailored to each theme, while ensuring different aspects of Gothic were explored across the season as a whole. In tune with the vision of a blockbuster season outlined in Film Forever, Gothic involved a wide array of BFI departments, partners and platforms, as follows: BFI Southbank hosted a four month season of screenings and events, the longest ever-mounted, running from 21 October 2013 to 31 January This included archive and contemporary films as well as TV previews (e.g. The Thirteenth Tale). 5

6 The newly established Film Audience Network (FAN) of nine national and regional Hubs organised and coordinated a range of performances and events around the country, many of which were funded by the BFI s Programming Development Fund (PDF), which itself only launched in June 2013 when the Gothic season was formally announced. According to an evaluation of PDF-funded Gothic activity prepared by Philip Wood on behalf of FAN, six of the nine Film Hub Lead Organisations (FHLOs) were successful with a joint PDF application, whilst Central East, London and Scotland resubmitted successful individual applications. Four classic Gothic titles were given UK-wide re-releases during the Gothic season (Nosfertu the Vampyre, 1979; The Innocents, 1961; La Belle et la Bête, 1946; and Night of the Hunter, 1955) linked to the four pillars. Three other titles (The Wicker Man, 1973; Nosferatu, 1922; and Only Lovers Left Alive, 2013) were not formally part of the season but released at the same time to maximise cross-promotional opportunities: Table 1: Nationwide (re-)releases Title Distributor Release date The Wicker Man (1973)* StudioCanal 27 September 2013 Nosferatu (1922)* Eureka 25 October 2013 Nosferatu the Vampyre (1979) BFI 1 November 2013 The Innocents (1961) BFI 13 December 2013 La Belle et la Bête (1946) BFI 3 January 2013 Night of the Hunter (1955) Park Circus 17 January 2013 Only Lovers Left Alive (2013)* Soda Pictures 14 February 2013 Source: BFI *These releases were not formally part of the Gothic season but were linked for cross-promotional purposes National exhibition circuits Cineworld, Odeon and Vue badged a selection of their programming with season branding, while Picturehouse Cinemas hosted dedicated Gothic strands at different venues alongside related education activity. The season was complemented by a variety of online activity. The BFI web site hosted a Gothic landing page and blog as well as related content on other pages (like the Southbank season page); an interactive online game called Gothic Dream, accessible on computer and as an app on the itunes store ( Gothic content on the BFI YouTube channel; and dedicated social media activity on Facebook and Twitter. In addition, a new VOD service, BFI Player, launched slightly ahead of the season and carried a selection of on-demand Gothic content. The BFI National Archive contributed a range of newly restored British titles, including Night of the Demon (1957) unveiled at the BFI Monster Weekend at The British Museum; Cross-Roads (1955), a 19 minute short featuring Christopher Lee; The Mistletoe Bough (1904); The Face at the Window (1939); and Gaslight (1940). The Archive s special collections also showcased Haunted: The Innocents at BFI Southbank, an archive of production documents associated with the film. The BFI s national network of Mediatheques (at BFI Southbank, the Library of Birmingahm, the National Media Museum in Bradford, Central Library Cambridge, QUAD Derby, Bridgeton Library Glasgow, Central Library Manchester, Discovery Musuem Newcastle and Wrexham Library) hosted 6

7 Gothic film and TV titles from the BFI National Archive including key British titles screening at BFI Southbank and the BBC s Ghost Story for Christmas series. A wide-ranging education programme aimed at families, schools, teachers, young people outside school, university students and general film-goers, was offered at BFI Southbank and in partnership with Into Film, members of the Cinema Arts Network and media partners. Key elements included: 13 x 13, a suite of lesson resources and teaching materials to support teachers around the UK and linked to 13 important Gothic titles to see by the age of 13; school and teacher events and conferences at BFI Southbank; a public programme of adult education events and library talks; a series of Higher Education Open Days; online content available through TES and itunesu; Gothic screenings as part of the Into Film Festival; and published material in Media Magazine (produced by the English and Media Centre) aimed at GCSE and A level Media Studies students and articles in Teaching English magazine. The BFI brought to market a range of Gothic-themed commercial properties: - Nine new BFI releases were issued on DVD and Blu-ray between September and December 2013 including the BBC TV adaptation of Sheridan Le Fanu s Schalcken the Painter and an omnibus of three stories from The Children s Film Foundation film library. - A number of new publications were issued, including Gothic: The Dark Heart of Film, a compendium of essays; four new Gothic-related BFI Film Classics (The Shining, Pan s Labyrinth, The Innocents and Nosfertau [1922]); and four reprinted titles (Das Cabinet des Dr Caligari, Cat People, Nosferatu [1979] and Vampyr). - A range of Gothic themed merchandise was offered for sale, including jewellery, clothing and stationery items. The Dark Arts season of fourteen films was televised on Film4 from 29 October to 3 November 2013, alongside cross promotion via online and social media sources. 7

8 1.2 About the evaluation Taking Gothic s cultural and business objectives as a starting point, the independent evaluator drew up a set of outcomes to structure data collection and reporting. A total of 27 outcomes were organised under five headings (reach, audiences, partnerships, revenue, reputation) derived from the season goal: A multi-platform exploration of the Gothic tradition on film, enjoyed by audiences and acclaimed at home and internationally, that promotes fresh insights and understanding of the genre; extends BFI s reach and leads to further engagement with the BFI; fosters new partnerships; delivers revenue growth; and strengthens the BFI s reputation as a cultural leader. Table 3 lists these outcomes under their respective headings, and Appendices 1 and 2 provide details of the data collection methods used. The principal evidence sources for the evaluation included: Venue and programming records Box office and ancillary sales data Venue market research Web & social media analytics BFI membership records and CRM reporting PDF and FAN records Media monitoring In addition, the evaluator undertook two strands of primary research: an online audience survey and interviews with Gothic partners and BFI executives. Online audience survey Administered online via Surveymonkey.com from Link promoted on Gothic landing page of BFI web site; through PDF-funded partners web sites, mailing lists and social media; and by to all BFI Southbank Gothic ticket purchasers 656 online survey returns Response rate = 3% (estimated) Respondents skewed more towards BFI Southbank visitors, BFI members and London residents 131 responses from people who attended non-bfi events (20% of total) Interviews Took place between January and March 2014 and involved: Toki Allison, The Courtyard David Cox, Film4 Allison Gardner, Glasgow Film Theatre Sally Griffith, Chapter & FAN Simeon Halligan & Ben Ross, Grimm Up North Tony Jones, Cambridge Film Trust & FAN Adam Leaney, Odeon/UCI Janet O Hara, British Museum Susan Picken & Mike Staley, QFT & FAN Paul Ridd, Picturehouse Cinemas Rhidian Davis, Clare Harwood, Tim Platt, BFI This report is an edited summary of the full findings. 8

9 Table 3: Gothic season outcomes REACH AUDIENCES PARTNERSHIPS REVENUE REPUTATION 1. Increased opportunities for audience participation in blockbuster season 10. Events achieve high levels of customer satisfaction 17. A new, mutually beneficial way of working for BFI/FAN & partners is developed 24. Revenue targets are met or exceeded 26. BFI s profile as a cultural leader, at home & internationally, is increased 2. Increased visitor numbers across participating venues 11. Audiences share Gothic content via social media & online 18. New partnerships established 25. Merchandise range returns a profit 27. BFI s cultural leadership is seen as dynamic and innovative 3. Increased number of new visitors to BFI Southbank & non London screenings 12. Audiences explore, use or attend other BFI events/products/services 19. Partnerships deliver multiplatform access to film outside London 4. Audiences who don t identify as horror fans attracted to screenings 13. Improved audience perceptions of the BFI 20. Content syndicated to third party promoters 5. Audiences who don't normally watch classic or archive films attend 14. Improved knowledge, understanding & appreciation of Gothic 21. Partnerships established with broadcasters, media & brand partners 6. Increased BFI DVD sales & BFI publications 15. Greater awareness of importance of curation, restoration & preservation 22. Partnerships extend impact of BFI Gothic 7. More visitors to BFI web site & platforms 16. Gothic s historical links with British culture are better understood 23. BFI is valued & trusted by partners 8. More new visitors to BFI web site & platforms 9. BFI membership increased Source: Gothic data collection plan, Bigger Picture Research 9

10 2. Outcomes Table 4 summarises the key evidence under each outcome, providing an assessment of performance against activity plans. Key = outcome achieved = evidence indicates some success, but the outcome has not been achieved in full or evidence is incomplete = outcome has not been achieved or no evidence of achievement exists. 10

11 Table 4: BFI Gothic report card Outcomes Achieved? Explanatory notes We definitely brought in a large number of people coming to see Gothic films. It wasn t all [city]-centric, so I think we did manage to expand to a wider audience. Gothic partner 1. Increased opportunities for audiences to participate in a nationwide blockbuster season 2. Increased visitor numbers across participating venues (funded and non-funded) and events 767 Gothic performances and events took place around the country (not including the national re-releases). 41% occurred outside the frame of BFI Southbank and BFI-ticketed events in London (e.g. the Monster Weekend hosted at the British Museum). BFI screenings involved 148 unique titles, compared with 122 performed at FAN partner venues, and altogether the season provided audiences with opportunities to see 269 different Gothic works. In cultural programming terms, the involvement of PDF-supported FAN venues greatly expanded the range of works available around the UK as part of the season. Over 58,000 tickets were sold to Gothic events and screenings hosted by the BFI and FAN partner venues. However, nearly three quarters (72%) of admissions were to BFI events in London, and overall attendance at PDF-funded FAN venue events fell short of targets. The first screening attracted [our regular] audiences that found out about it through our brochure and social media. The second audience was a real mixture: quite a lot weren t regulars. 3. Increased number of new visitors to BFI Southbank, special events and out of London screenings 4. Audiences who don t identify as horror fans are attracted to screenings and events The better performing events probably involved people who had used [the venue] previously [ ] But we had a lot of new audiences participating and volunteering. Gothic partners In terms of new visitors, the pattern varied by venue, event and region. Only 13% of audience survey respondents were new to the venue they attended (although new attendees may have been underrepresented in the sample). [ ] despite not watching a horror film in 10 years, I really want to go check out the Gothic film Tweet reported in Mid point report, Film Hub South West & West Midlands For some it was a new experience and it wouldn t necessarily be the people who would embrace the genre as whole-heartedly as our regular fans. Gothic partner While majority of respondents said they were horror fans (60%), it is significant that 40% of respondents would not describe themselves as such. On this basis it is estimated that between 21,107 and 25,474 admissions were made by non horror fans. 11

12 Outcomes Achieved? Explanatory notes 5. Audiences who don t normally watch classic or archive films come to these performances 6. Increased BFI DVD sales and BFI/Palgrave publications 7. Greater number of visitors to BFI web site and other digital platforms Nearly all survey respondents (96%) claimed to have previously seen a re-released classic or archive film at the cinema. Given the survey sample s bias towards BFI audiences and members, these findings cannot be taken at face value, and performance against this outcome remains unproven. Overall, DVD/Blu-ray sales were in line with expectation, with some titles exceeding forecasts, and an uplift in sales activity around related titles released in Book sales also proved healthy for the new and reissued BFI/Palgrave Macmillan Film Classics publications. The Shining is now one of the fast-selling titles in the series. Between launch of the Gothic landing page on the BFI web site (June 2013) and close of the season in March 2014, the Gothic page received 169,213 visits from 140,884 unique visitors. saw a very strong monthly, year-on-year rise in visits and unique visitors between November 2013 and March 2014, coinciding with the latter part of the Gothic season. A Gothic Dream, the first online game/app linked to a BFI season, was intended to achieve around 100k plays, based on an estimate from the game designer, and was on course to do so at the end of March Greater number of new visitors to BFI web site and other digital platforms 9. BFI membership increased 10. Screenings and events achieve high levels of customer satisfaction from audiences Total views of Gothic content across BFI YouTube channels stood at 32,585 by the end of March % of Gothic content page views on resulted from new visits. No evidence of new user levels exists for other platforms. 54% of audience survey respondents (352) were not BFI members at the time of the Gothic season. Of these, over half (54%) said they would consider joining the BFI as a result of Gothic. However, there is no evidence the season had any impact on the overall level of new membership acquisitions up to March A year-onyear comparison for the period April 2012 to March 2014 reveals no increase in new sales, other than in September and November 2013 when other factors (LFF priority booking and announcement of a popular Sherlock event) were responsible for the uplift. A similar year-on-year comparison of membership renewals also provides no evidence of Gothic s impact. Across the season as a whole, the online audience survey recorded very high satisfaction levels (findings which are mirrored in the survey results of PDF-funded FAN partner venues). Nearly all respondents (96%) rated last Gothic event they attended as either Good (22%) or Very good (74%). 97% of respondents described the venue they attended as Good (26%) or Very good (71%). 12

13 Outcomes Achieved? Explanatory notes 11. Audiences share Gothicrelated content through social media and engage in online conversations I certainly feel like we ve made a step change in this area. There were stories that were being told across a variety of subjects; all kinds of different conversations around filmmaking and education to how literature has evolved into film. We reached a far greater audience than you can ever hope to reach in terms of bums on seats at the local cinema. That was really pleasing. Social media was a real success and we had a good editorial voice with a strong strategy for how we were going to develop those stories. Tim Platt, BFI Marketing Content analysis of tweets featuring the season hashtag reveals the majority were posted by venues, promoters or those involved in delivering events as a means of pushing promotional messages and material rather than as part of an online discussion among audiences. 12. Audiences are encouraged to explore, use or attend other BFI events, products and services 13. Improved audience perceptions of the BFI 14. Improved knowledge, understanding & appreciation of Gothic & genre film 15. Greater awareness of importance of film curation, restoration & preservation 16. Gothic s historical links with British culture are better understood and appreciated The regular series of Gothic-themed posts on the BFI Facebook page proved more successful in sparking discussion of the genre. Top 10 lists generated alternative suggestions and disputes about inclusion, while posts offering screening information provoked more personal recollections of viewing experiences and endorsements of favoured titles. Over a quarter of survey respondents (27%) said they had taken up other BFI services as a result of Gothic (estimated to be between 4,835 and 6,394 people across the whole season audience). The audience survey indicates Gothic had a positive effect on the way the BFI is viewed by respondents. Over two thirds (68%) said the season made them think more positively of the BFI, while only 5 respondents (1%) said it had opposite effect. The remainder, 31%, said Gothic made no difference to their view of the organisation. 71% of survey respondents agreed the season taught them something new about the Gothic tradition. 73% agreed the season made them want to find out more about Gothic films and literature. 74% of survey respondents said the season had made them more aware of the importance of film curation, restoration and preservation. Two thirds (66%) of survey respondents were aware of Gothic s historical association with British culture prior to the season. Of those that were unaware of this, the same proportion (67%) said the season helped them to make this link. 13

14 Outcomes Achieved? Explanatory notes The Hitchcock season was the first blockbuster but it operated traditionally. I don t think anyone else around the UK was really involved in that, it just came out of Southbank and then was toured in the regular way. Gothic was the first time we really engaged with the BFI in a more collaborative sense. Gothic partner By definition, the relationship between BFI and FAN partners was new because the network was still in its infancy. The season experienced some teething problems, understandable given the untested nature of FAN and the PDF. However, consultees gave evidence of a number of strengths and benefits to the partnership approach adopted for Gothic: Clarity of objectives: The general objectives of the Blockbuster season were understood by all and mentions were made as to the status of the season being a benefit to smaller Exhibitors, in terms of being involved in a national season and working collectively within their hub. Philip Wood, PDF evaluation report, May A new, mutually beneficial way of working for the BFI, the FAN & other partners is developed Communication around programming, film booking and PDF funding: Partnership worked well on every level. Communication [with BFI] was very easy and never any problem getting answers to questions or finding someone to address issues when necessary. [The BFI] are great partners to have. You can always phone up and ask, they re there for knowledge, they re very generous with their knowledge. If you had a question [the executive] was always there to answer it for you. Gothic partners Establishment of new, local partnerships with venues: [W]e ve had some very positive [new local] partnerships [ ] We would like to be able to work with them again. The financial support helped us put on screenings at two very different venues that we ve never used before and were not conventional cinema venues. We have already been asked by [one venue] about helping them to put on a further screening event of their own. Gothic partners When asked to think critically about partnership with the BFI, the most common issue raised (by PDF-funded venues as well as other partners interviewed for the research) was a desire to see the BFI offer greater national marketing support, in traditional & social media and online. As Philip Wood s PDF evaluation report notes, while the response regarding marketing and branding the 14

15 18. New partnerships established, including delivery partners and financial supporters 19. Partnerships deliver multiplatform access to film outside London Gothic events was positive [,] there was a lack of clarity over the BFI s role and responsibility for Gothic marketing nationwide and a general agreement that a lot more could have been achieved, particularly again with more time for planning (May 2014). I think they could have done more [marketing and promotion]. I didn t see anything, apart from in Sight and Sound. I think there still seems to be a slight London bias and I think perhaps we could have had a This week from region A for example. But I think that seemed to be a victim of the quickness of the project perhaps? Gothic partner From the BFI Marketing team s perspective, limits on time and resources, the need to drive campaigns around BFI-led events, and an expectation that PDF-funded partners should be responsible for their own promotional campaigns, all weighed heavily on their willingness and ability to offer nationwide support. Online promotion was a particular area of concern, with some partners feeling frustrated at the lack of regional information pushed through BFI channels: I think the web-based [marketing] certainly we expected a bit more which didn t materialise. Obviously resources are an issue. In terms of the BFI it was often quite difficult to add any additional material on their website. Gothic partners In fairness, the BFI digital team report on Gothic acknowledges the challenges faced: Representation of UKwide / Film Audience Network activity emerged as a priority late in the day and we didn t have the resource to address it at that stage. A wide range of new partnerships were established, between BFI, FAN, promotional partners and commercial players; and between FHLOS and new venues involved in PDF-funded activity. Specific ratings aside, the season can be considered a success given the amount of viewers who came to what is a largely late-night/cult appeal season (it was much stronger than our British season, which occupied similar slots later in November). There was also considerable engagement with the season on social media, with excitement about the concept, the overall range of films and individual titles. David Cox, Film4 The successful Film4 Dark Arts season provides the only example of this, although BFI s existing presence on YouTube and launch of BFI Player added to the multi-platform mix. 15

16 Outcomes Achieved? Explanatory notes 20. Content is syndicated to third party promoters 21. Financial and promotional partnerships are established with broadcasters, media and brand partners 22. New and existing partnership working extends impact of BFI Gothic The Gothic season trailer (90 second version) and four additional pillar trailers were syndicated to media partners including Archant, Cooliris, Marie Claire, Metacafe, MTV, NOW Magazine, The Evening Standard, The Guardian, The Times, Time Out, Vue Cinemas, and Woomi App, generating 56,608 views across all clips. Conventional media partnerships, formed around promotion of specific events, were entered into with the likes of The Wire and Empire magazines. Aside from content syndication, the evaluation found no evidence of substantive financial partnerships (including sponsorship activity) linked to Gothic. Generally I was really happy with how [partners] responded. I think necessarily there was a coming together, a personalisation of approach, given partners sense of their audience and what they were trying to achieve. Rhidian Davis, BFI Programme Department Involvement of delivery partners around the country greatly expanded the range of viewing opportunities outside London. Furthermore, PDF-funded venues collectively broadened the Gothic cultural programme by increasing the range of titles and special events that played across the UK. No real change in already-positive perception. Very much looking forward to finding new ways to collaborate with the BFI. This felt like a good first step and hopefully we can find a way to be more ambitious with future partnerships. [Gothic] just reinforced what we felt was a really good partnership. It s reinforced that and made us even keener to roll it over and keep up the momentum and do something again. 23. BFI is valued and trusted by existing and new partners I ve worked with them before and I like working with the BFI. I find them very personable for a big organisation: I can always get the person that can answer a question for me, they answer it as best they can, they give advice. It hasn t changed my perception: I liked working with them and I still like working with them. I d like [BFI] Marketing to listen more to the Programming and Partnership Teams at the BFI. Gothic partners Most partners consulted had pre-existing relationships with the BFI, and in such cases Gothic reinforced the goodwill already felt towards the organisation. 16

17 Outcomes Achieved? Explanatory notes When it came to the actual screenings themselves there were variable attendances. It varied according to the film. There were often quite disappointing results but the sheer quantity of it maybe didn t work in our favour because there was so much of it. We were doing a lot of screenings. When there s something new and high profile about to re-release that tends to get more buzz around it. Because Gothic was so exhaustive there were lots of titles in there that maybe played very well at the Southbank but when they were part of our own contribution maybe they didn t perform quite as well. 24. Revenue targets (box office, DVD and publication sales, BFI Player etc.) are met or exceeded 25. Merchandise range returns a profit 26. BFI s profile as a cultural leader, at home and internationally in traditional and online media, is increased and 27. BFI s cultural leadership is seen as dynamic and innovative Our expectations/hopes were just to hold a couple of successful events, which tied in with a BFI season [ ] The events were roughly what we hoped for. Some things went okay, some things didn t. Audiences were a little disappointing, but on the whole they weren t too bad. [Outdoor event] was a bit disappointing. We took a chance with the weather and what we did learn was that we shouldn t listen to people trying to push the prices up, we should have kept them at 10 or below. Yes it worked out in terms of we were fully attended for both screenings [at new partner venues]. Gothic partners Targets were not available in every case. Where they were (DVD/Blu-ray and publishing), sales performed in line with, or exceeded, expectation. The main exception was box office takings for PDF-funded activity, which was lower than forecast due to fewer admissions. Sales were good but the question of profitability remains unknown on available evidence. Our reputation as a cultural organisation across the UK has been greatly enhanced by our Gothic programme. Our press coverage and the marketing campaign reached audiences across the UK and was a great success. Tim Platt, BFI Marketing Season generated a good deal of positive coverage, online and in traditional media. But it is not possible to judge reputational impact in the absence of qualitative evidence of media commentary, online buzz monitoring and opinion former perspectives. 17

18 3. Discussion and lessons We touched a much wider footprint of audience than we have done with our cultural projects in recent years. Tim Platt, BFI Marketing The basis for a UK wide, conjoined programme, with significant delivery outside London, was really seen to have succeeded on a top line level. Rhidian Davis, BFI Programme Department 3.1 Discussion The foregoing summarises evidence gathered from a wide range of sources and in consultation with key executives, inside the BFI and partner organisations, involved in the Gothic season. Project records and reports, audience survey findings, market and sales data, online analytics and professional testimony were brought together under five headings derived from the BFI s cultural and business objectives for the blockbuster season. Within these broad areas, performance was judged against a set of outcomes agreed with the BFI at the start of the evaluation process. In the majority of cases, sufficient information was available to make a balanced assessment; however, evidence was found lacking for some outcomes and the commentary makes clear wherever this was the case. The true value of this round of Gothic data collection is as a preparatory exercise to establish baseline data against which to evaluate future seasons. So while the present study has struggled at times for meaningful benchmarks, future research will be able to refer with confidence to Gothic data and draw appropriate comparisons. Before describing the principal lessons that Gothic provides, this final section pulls together all the available threads of evidence to consider how this test case blockbuster fared in the round. Starting with the season s over-arching goal, Table 5 breaks the goal statement into constituent parts, considering the evidence against each in turn. From this we can conclude the goal was largely satisfied, with progress evident even in those areas where results were mixed or information remains incomplete. 18

19 Table 5: Goal assessment A multi-platform exploration of the Gothic tradition on film Season straddled theatrical, home entertainment, VOD & online, and broadcast platforms, as well as publishing and merchandising Theatrical season involved 269 titles and events at 767 performances across the UK enjoyed by audiences High customer satisfaction levels across season and acclaimed at home and internationally, Large volume of positive media coverage Active engagement via social media that promotes fresh insights and understanding of the genre; Survey evidence of audience learning outcomes Teaching English articles extends BFI s reach 41% of events put on outside London But majority of admissions were to London-based events and leads to further engagement with the BFI; Over a quarter of audience (27%) took up other BFI services as a result of Gothic fosters new partnerships; Partnerships developed with Hub member venues Established closer links with existing partners like Film4; media partners; British Museum etc. delivers revenue growth Sales of DVDs/Blu-rays and publications met or exceeded targets But PDF-funded events saw lower sales than forecast and strengthens the BFI s reputation as a cultural leader. Anecdotal evidence is positive and partners, like British Museum, want further involvement in future But qualitative evidence of media coverage, online buzz monitoring and opinion former perspectives is lacking Taken on its own terms, Gothic offers proof of concept that multi-platform delivery involving a variety of partnerships can produce valuable outcomes for audiences as well as delivery partners and other stakeholders. Most important of all, the season represented a milestone in risk-taking cultural programming, the like of which had not previously been attempted on such a scale. Choosing a genre-driven thematic and a body of films which is largely regarded as B- movie status led to the cultural impact of spotlighting some areas of filmmaking that have not traditionally been highly regarded. The impact of that, and the divergence in opinion around the significance of what we were presenting, was stronger than maybe we had quite anticipated. Rhidian Davis, BFI Programme Department Yet the question remains: is the blockbuster season model the most cost-effective way to deliver these outcomes, and provide value for money in public funding terms? It is an issue touched on by Philip Wood s evaluation of PDF-funded activity, which reports spend per head was 44% higher than projected, at 11.86, due to lower than anticipated attendances across FAN partner venues as a whole. Limitations on the budgetary information supplied by FHLOs make it difficult to draw firm conclusions about viability, other than the report s observation that PDF funding was critical to the season s financial case outside of London, as were partners in kind contributions. The question as it applies to the full season, including BFI and other nationwide activity, goes beyond the immediate scope of the present outcomes-led evaluation, which was never intended to provide a detailed financial assessment. 19

20 Furthermore, the absence of counterfactual evidence makes it impossible to say if another type of initiative or programme would do better or worse across the range of outcomes explored here. In strictly commercial terms the question remains open to the different business owners and budget holders inside the BFI, who are best placed to answer while taking into account the findings of this present report. 3.2 Lessons Planning and co-ordination > Longer lead time needed for planning All those involved, from the BFI and partner organisations, agreed the timeframe for planning and scheduling Gothic was too tight in the context of the newly formed FAN and launch of the Programme Development Fund and BFI Player. Although these factors were quite specific to the timing of Gothic within the BFI s wider strategic programme of activity, experience suggests future seasons would benefit from longer lead times, smarter scheduling and greater transparency: Longer lead planning is vital, including evaluation. Everything which was new, including this evaluation process, was put together late in the day, which has presented some issues getting partners buy-in to the process. Agreeing things upfront early on, sticking to them, and communicating them is the big priority. Rhidian Davis, BFI Programme Department I would recommend that organisations are given a little bit more time to have those discussions about events that will work for them, and about the audiences they could get. Time to have an internal discussion, and to go back and forth with the other hub partners. Gothic partner Due to delays in establishing the FAN, the turnaround for the PDF award process was very tight, causing issues in many areas. A much longer lead in time for the planning would result in: More time for FHLOs to engage smaller partner exhibitors in their hub regions More opportunities for FHLOs and exhibitors to develop collaborations Exhibitors more able to submit accurate budgets based on confirmed figures rather than estimates A more coherent and co-ordinated marketing strategy and plan across the FAN Philip Wood, PDF evaluation report, May 2014 > Exhibition partners should be involved on a more equal footing Philip Wood s PDF evaluation report points to scope for greater buy-in from exhibition partners provided they are more involved in the planning process. The report argues the blockbuster season value proposition, both for delivery partners and audiences, can only benefit from greater exhibitor involvement: Where Gothic could have realised the full potential of the blockbuster season concept was with greater perceived wider value for exhibitors to buy into, which would have helped increase and broaden the reach of the season and made it greater than the sum of its parts. [ ] With a more joined up approach in terms of shared programming and collaborations, and greater information and resources leading to a more focussed, higher impact amount of press coverage and word of mouth, the wider, national value of the season would have been clearer to exhibitors in terms of audiences being more engaged with Gothic nationally and therefore more engaged with the local Gothic activities. 20

21 Philip Wood, PDF evaluation report, May 2014 I think the BFI needs to enable more engagement with FAN on these projects. The main programmers should be involved both in what those seasons are, and in the programming discussions right from the beginning. Clare Harwood, BFI Partnerships Delivery > Season is labour and resource intensive It is an obvious point to make, but one that nonetheless needs to be recorded: a season of this scale and ambition demands a great deal of effort behind the scenes. The Gothic experience was obviously coloured, for those that took part, by the untested character of many of the elements involved. Funding processes were being put in place and bedded in at the same time FAN was finding its feet and collective voice. All of this added to the administrative burden that programming and audience development routinely involves, and all exhibition partner consultees recounted greater workloads than anticipated. One result was an increase of in kind contributions to funded activity, as recorded by Philip Wood in his PDF evaluation report; given the uncounted extra time contributed by partners, this is likely to have been under-estimated. > There is no benefit to a lengthy season run The length of the season was in part to blame for the additional workload of those larger venues that hosted extended Gothic programmes: Some of the venues with larger programmes thought they did too much and would do a tighter programme in the future and within a tighter time frame to maintain interest. Philip Wood, PDF evaluation, May 2014 In more general terms there was widespread agreement that the season was too long to sustain audience interest, not least as the key dates around Halloween occurred early on in the season. Committing already crowded schedules to one programming strand becomes harder the smaller the exhibitor, and even for venues with greater capacity there is a limit. We felt that running into January might have been too much of a stretch for audiences. Gothic partner I think making a shorter footprint and making what we say more impactful underneath the single heading is probably the way to go. Rhidian Davis, BFI Programme Department [A long season] is rather difficult for the regions to take on. They have their own programmes going on. I m not sure the length of time worked. Clare Harwood, BFI Partnerships A more compact, shorter season [ ] would also lead to: Greater audience impact, including more audience survey responses Greater opportunities for cross-marketing and promotion Increased audience development for exhibitors across activity Easier coordination across the project particularly with regards to relations with BFI marketing and partnerships teams Philip Wood, PDF evaluation report, May

22 > Season pillars were helpful structuring devices The four thematic pillars were partly intended to help break the season into marketable packages, and there was widespread support for them despite concerns about the overall season length. Although the themes were not deployed in every Hub region, many partners found the pillars helpful to guide their programming and marketing plans. Far from being seen as restrictive, the themes proved stimulating: I think it was very helpful. It helped focus my mind. You had disparate films in there Corridor of Mirrors and Black Swan. Although it seems restrictive, actually it s a way to really open up your imagination. I thought it was useful. You could cover many things, you could go on forever, but you have to bring it down to something manageable. I think that was done very well. I thought they were interesting strands, they all offered something different. Gothic partners From a marketing perspective I think they did work. They helped us have a variation of themes throughout the period, which was quite long. Tim Platt, BFI Marketing > Co-ordinated marketing is key, especially online promotion As a collection of individually funded, separate screenings to increase audience engagement with specialised film, the season was not dissimilar to traditional audience development funding [ ] As such the season served mainly as an umbrella for a collection of individual events, instead of realising its added value potential. Philip Wood, PDF evaluation report, May 2014 For partners, a major draw to participation in the blockbuster season is the prospect of being part of a major, nationwide cultural programme backed by the BFI. As a multiplatform initiative involving collaboration between a wide variety of organisations, the concept needs underpinning by strong branding and co-ordinated promotional activity, in order to create a unified value proposition for delivery partners and audiences, and to ensure the season delivers more than the sum of its parts. Balanced against this is the need for exhibition partners to connect with local audiences, tailoring their marketing messages accordingly. This makes co-ordination of marketing and promotion all the more important, at national and regional levels. The consultation highlighted differences in expectation about the BFI s role in supporting partners marketing efforts, especially through online channels and social media. Therefore a clearer division of labour is required so that lines of responsibility are more transparent and resources can be appropriately targeted. The full potential for active engagement with audiences via social media was never fully realised under Gothic. There were examples of good practice, but too much activity (especially on Twitter) involved pushing event listings at the expense of more creative and interactive content. As part of its co-ordinating role, the BFI should take a lead in promoting social media best practice across partner organisations requiring support. We were getting requests to say, Can you tweet this, can you tweet that? and they were broadcast messages, they weren t engaging content. So there is a need to learn about how we influence and how we work together to make the content deliver our aims and objectives as opposed to it being just another broadcast channel. 22

23 Tim Platt, BFI Marketing Administration and reporting > Single point of coordination across FAN projects is helpful Perhaps one of the key parts of the role was having a central point between the FHLOs and the BFI. This was particularly useful in liaising with the BFI marketing team regarding the BFI Gothic website listings, print advertisements, branding, press releases and social media. Philip Wood, PDF evaluation report, May 2014 The involvement of Philip Wood as project manager for PDF-funded FAN activity was welcomed by many consultees, pointing to the need for a similar coordinating function in future. The benefit was felt by FHLOs and the BFI, particularly in the areas of marketing, information sharing, data collection and reporting. Throughout the project it was very useful to have somebody to liaise with in that way. Clare Harwood, BFI Partnerships > Timely, standardised data collection and reporting is essential The data process was quite difficult: we were expected to gather data during the events but those questions hadn t been clarified by that point so things were a little bit back to front. Gothic partner One consequence of Gothic s launch amid a raft of other new initiatives was that data collection methods remained in development over a longer period than proved helpful. Funded partners spoke in consultation about changes in reporting requirements during initial planning that caused administrative problems and undermined standardised approaches. This problem came into sharp focus around all-important audience survey activity. The online survey adopted by the present evaluation research only went live in December 2013, several months after the season launched. In the absence of a centralised survey format, many participating venues and FHLOs employed their own research, either adapting existing questionnaires or creating new tools for the purpose. While these had some tactical utility, providing performance management information for use locally, differences in the way questions were framed meant that data could not be easily aggregated to build a season-wide picture of performance. Several of the FHLOs carried out audience surveys across a range of their screening activities. However, without any agreement on specific data collection from the FAN data group, each of the surveys included different questions. As such, there was little scope for cross-uk analysis, particularly given that not all screenings were surveyed, and response rates varied with around 1,000 surveys completed out of total PDF funded Gothic screenings of 16,461 (6.1%). Philip Wood, PDF evaluation report, May 2014 Going forward, as the PDF evaluation report recommends, a set of agreed questions should be included in all audience survey work conducted by season participants, with the option to add as necessary questions of specific interest and relevance locally. 23

24 Decisions around survey timing, format, fieldwork methods (whether questionnaires are administered online and/or available for completion at venues) and use of respondent incentives should be agreed by the BFI and partners during season planning and guided by the outcomes identified for reporting purposes. > Reporting needs qualitative dimension alongside the numbers The reporting has all been about quantitative and I find that really depressing [ ] The qualitative is sadly lacking at the moment. I m not so naïve to think that we ll stop looking at numbers, but we have to look at the other stuff as well. Gothic partner As the present report demonstrates, Gothic generated large volumes of quantitative data, including sales and user figures along with survey findings. Without wishing to underplay the value of this information, several consultees pointed to the need to capture more qualitative evidence of audience and partner venue experiences resulting from participation in the season. Measurement of progress towards business objectives is relatively well-served by quantitative information, but the cultural and reputational impact of the blockbuster season can only be properly judged using qualitative methods including extended interviews with delivery partners and opinion formers, audience focus groups, and content analysis of social media activity and press/broadcast coverage. Mindful that such approaches can be costly for programmes of this scale, the precise mix of methods should be considered by all partners at the earliest opportunity, and ways sought to share research tasks as widely as possible within an evaluation framework agreed in advance. [end] 24

25 Appendix 1: Data collection methods BFI Gothic Goal: A multi-platform exploration of the Gothic tradition on film, enjoyed by audiences and acclaimed at home and internationally, that promotes fresh insights and understanding of the genre; extends the BFI s reach and leads to further engagement with the BFI; fosters new partnerships; delivers revenue growth; and strengthens the BFI s reputation as a cultural leader. Assumptions: Film is the most impactful medium for bringing the unique and compelling thrill of Gothic to life for mass audiences. The big screen experience takes this to a higher level. The Gothic genre (in all its variety) has near-universal appeal. Gothic fantasies and fables tap into a deep strain of common psychological engagement and thrilling anxiety. Filmmakers took Gothic further it s more vivid, more powerful plus film offers the public the shared experience lacking in other media and art forms. Seeing how great filmmakers have responded to the Gothic imagination will be one of the pleasures of this season. Gothic brims with vivid imagery and ideas, which can be the catalyst for a strong communications campaign to a range of audiences. The BFI has a unique take on this material. British talent has been instrumental in shaping contemporary Gothic culture. British and Irish writers, actors and filmmakers working with the Gothic are at the dark heart of today s most innovative and popular film and television productions. There is an appetite for Gothic content across multiple platforms. There is considerable interest in the Gothic tradition internationally. Screenings and events can improve people s knowledge, understanding and appreciation of the Gothic tradition. Gothic will draw new audiences to the BFI. The season is capable of attracting people who do not identify as horror fans. Gothic offers the opportunity to reach out to audiences who would not normally watch classic or archive films. Gothic offers a wide range of new partnership opportunities. Partnership working is a good way to extend the impact of BFI Gothic. Gothic screenings, events, DVDs, digital products and merchandise have strong revenue potential. The BFI has an established reputation for cultural leadership. Gothic can enhance this reputation. 25

26 Outcomes and data collection methods Venue & programming records Box office & sales data Audience survey & venue market research Outcomes 1. Increased opportunities for audiences to participate in a nationwide blockbuster season. 2. Increased visitor numbers across participating venues (funded and non-funded) and events. 3. Increased number of new visitors to BFI Southbank, special events and out of London screenings. 4. Audiences who don t identify as horror fans are attracted to screenings and events. 5. Audiences who don t normally watch classic or archive films come to these performances. 6. Increased BFI DVD sales and BFI/Palgrave publications. 7. Greater number of visitors to BFI web site and other digital platforms. 8. Greater number of new visitors to BFI web site and other digital platforms. 9. BFI membership increased. 10. Screenings and events achieve high levels of customer satisfaction from audiences. 11. Audiences share Gothic-related content through social media and engage in online conversations 12. Audiences are encouraged to explore, use or attend other BFI events, products and services. 13. Improved audience perceptions of the BFI. 14. Participants have improved knowledge, understanding & appreciation of Gothic & genre film. 15. Greater awareness of the importance of film curation, restoration and preservation. 16. Gothic s historical links with British culture are better understood and appreciated. 17. A new, mutually beneficial way of working for the BFI, the FAN & other partners is developed. 18. New partnerships established, including delivery partners and financial supporters. 19. Partnerships deliver multi-platform access to film outside London. Web & social media analytics BFI membership records Partnership records & interviews 20. Content is syndicated to third party promoters. 21. Financial and promotional partnerships are established with broadcasters, media and brand partners. 22. New and existing partnership working extends impact of BFI Gothic. 23. BFI is valued and trusted by existing and new partners. 24. Revenue targets (box office, DVD and publication sales, BFI Player etc.) are met or exceeded. 25. Merchandise range returns a profit. 26. BFI s profile as a cultural leader, at home and internationally in traditional and online media, is increased. 27. BFI s cultural leadership is seen as dynamic and innovative. Media monitoring 26

27 Appendix 2: Fieldwork A2.1 Audience survey The Gothic audience survey was administered online via Surveymonkey.com. The survey went live on 11 December 2013 and the link was promoted on the Gothic landing page of BFI web site, through PDF-funded partners web sites, mailing lists and social media and through FAN by the same means. On 10 February 2014, once the season had ended at BFI Southbank, an promoting the survey was sent to all BFI Gothic ticket purchasers. 673 people responded to the survey. 17 of these returns were unusable, either because the respondent did not supply a qualifying film title or screening date, or entries were duplicated. Therefore this analysis is based on 656 survey returns. We do not know the exact size of the survey population, but we can estimate it on the basis of the survey evidence and Gothic season admissions figures. Admissions to all BFI Southbank, BFI ticketed events and FAN partner venue screenings totalled 58,226 (Table A1). These are ticket sales and not individuals; as some people attended more than one screening event, the population will be smaller than the total number of admissions. Using survey data we can estimate that individuals attended 2.8 screenings on average, giving a survey population of around 20,795 (58, ). 1 On this basis the survey response rate was 3% ([656 20,795] x 100). This means the survey confidence interval (margin of error) is +/- 3.75% at 95% confidence level. In other words, we can be 95% certain that all survey results presented as a percentage will sit within a range from -3.75% to +3.75% of the reported figure. Table A1: Gothic admissions across BFI ticketed and PDF-funded FAN partner events Admissions % BFI Southbank & BFI ticketed events 41,971 72% FAN partner venues 16,255 28% Total 58, % Sources: BFI, FAN, Bigger Picture Research * This figure is incomplete at the time of writing Responses by venue Respondents attended events at 29 different venues across the UK. Three quarters of respondents (75%) visited BFI Southbank and another 5% attended BFI ticketed events at the British Museum (Table A2). This means the sample is skewed more towards BFI activity than is found in the population of Gothic attendees (Table A3). In total there were 131 survey returns from people who attended non-bfi ticketed events. 1 The BFI CRM report for the Gothic season estimates that each unique ticket purchaser made 2.1 visits to events in the season, but this only applies to BFI Southbank performances. 27

28 Table A2: Number of respondents who attended events, by venue Number of Venue Venue region respondents % BFI Southbank London % Cornerhouse North West 34 5% British Museum* London 33 5% Caerphilly Castle Wales 13 2% Glasgow Film Theatre Scotland 13 2% Watershed South West 7 1% Castell Coch Wales 6 <1% Dancehouse North West 6 <1% John Rylands Library North West 6 <1% Ordsall Hall North West 6 <1% Showroom Yorkshire & Humber 6 <1% Llancarfan Village Hall Wales 5 <1% Cardiff Castle Wales 4 <1% Queen s Film Theatre Northern Ireland 4 <1% Temple Studios London 4 <1% Chapter Arts Centre Wales 3 <1% National Media Museum Yorkshire & Humber 2 <1% Angel Hotel Wales 2 <1% Aberdeen Belmont Picturehouse Scotland 1 <1% Broadway Cinema East of England 1 <1% Church of St John London 1 <1% Duke of Yorks South East 1 <1% Filmhouse Scotland 1 <1% Gwyn Hall Wales 1 <1% Kirkstall Abbey Yorkshire & Humber 1 <1% Phoenix East Midlands 1 <1% The Courtyard West Midlands 1 <1% Harbour Commissioners Office Northern Ireland 1 <1% Total % Sources: BFI, Bigger Picture Research * BFI ticketed event Table A3: Pattern of responses compared with Gothic admissions % of survey respondents % of Gothic admissions BFI Southbank & BFI ticketed events 80% 69% FAN partner venues 20% 31% Total 100% 100% Sources: BFI, FAN, Bigger Picture Research Responses by date of attendance Almost half (47%) of all respondents attended a screening or event in 2013, with the remainder in early The monthly breakdown of event dates attended by respondents is given in Table A4 and Figure A1. The survey went live in December, and the main promotional push came in January and February. This explains why there are more responses from people who attended events within later season pillars (principally Haunted and Love is a Devil). 28

29 Table A4: Number of respondents by month of attendance Month in which respondents attended last Gothic event (season pillars) Number of respondents % August % October 2013 (Monstrous, Dark Arts) 24 4% November 2013 (Monstrous, Dark Arts) % December 2013 (Dark Arts, Haunted) % January 2014 (Haunted, Love is a Devil) % February 2014 (Love is a Devil) 60 9% March <1% Total % Sources: BFI, Bigger Picture Research Figure A1: Number of respondents by month of attendance Sources: BFI, Bigger Picture Research N= 656 Responses by place of residence Table A5 and Figure A2 reveal that nearly two-thirds (64%) of respondents were London residents. Respondents from Wales, Scotland and Northern Ireland accounted for 9% of all responses. 29

30 Table A5: Number of respondents by nation or region of residence Number of Nation or region of residence respondents % London % South East 58 9% North West 51 8% East of England 19 3% South West 15 2% Yorkshire & Humber 10 2% East Midlands 8 1% North East 5 1% West Midlands 4 1% England sub total % Wales 35 5% Scotland 19 3% Northern Ireland 5 1% Total % Sources: BFI, Bigger Picture Research Figure A2: Proportion of respondents by nation or region of residence Sources: BFI, Bigger Picture Research N= 647 Responses by film title Respondents attended performances involving 125 different film titles (or events) across the country. This represents nearly half (46%) of all titles screened by the BFI and PDF-funded FAN partner venues (269 titles). Almost one in five respondents (17%) attended a performance of The Night of the Hunter (most commonly at BFI Southbank). The film s extended run at BFI Southbank coincided with the mailing to BFI ticket purchasers (on 10 February) asking people to complete the online survey. The film attracted 3,601 admissions at BFI Southbank, the second highest total of the season (behind The Innocents, with 4,297 admissions). The films most commonly attended by respondents are listed in Table A6: 30