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April 2013 Prepared for the Overview of Cultural Cinema in Ireland on 19 th June 2013 An Arts Council and Arts Audiences Information Event in association with access>CINEMA By Grogan Research Ltd.

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Contents 1. Introduction 2. Cultural Cinema 3. Engagement with Cultural Cinema 4. Key Characteristics of Low, Lapsed & Non Attenders 5. Motivators & Inhibitors 6. Community of Cultural Cinema 7. Summary & Conclusions

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1. INTRODUCTION

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1.1. Primary Objective of Research The primary objective of the research was to ascertain and evaluate the attitudes and behaviour of low, lapsed and non attenders towards cultural cinema And, thereby, provide direction for the development of audiences for cultural cinema in the future

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1.2. Specific Research Issues 1. What do people know and understand about cultural cinema? 2. How do people engage with cultural cinema? 3. What are the motivators for engaging with this form of film? 4. What are the inhibitors? 5. What are the influencers that affect engagement? 6. How do people hear about cultural cinema? 7. How would they like to hear and what would they like to know? 8. What do people require from a venue and how well do venues perform? 9. How can new audiences be attracted? 10. How can attendances be improved and retained?

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1.3. Methodology A qualitative research project 4 focus groups 3 locations in Ireland Representing specialist venues, specialist festivals and multidisciplinary venues offering a cultural cinema programme Convened from April 4 th to May 1 st 2013

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1.4. 1 Sample Three categories of cultural cinema attenders Identified as the potential target market for growing cultural cinema audiences 1. LOW ATTENDERS: attended cultural cinema 3 times in the past 2 years 2. LAPSED ATTENDERS: attended 1 or 2 screenings in 2011 and did not return since 3. NON ATTENDERS: attend mainstream cinema and are aware of the availability of cultural cinema but never attend

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1.4. 2 Sample Additional recruitment criteria Males and females Aged 18+ All attended a film from an adult or general programme All bought tickets themselves Low and lapsed attenders recruited from a relevant database Some were members of a film society

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2. CULTURAL CINEMA

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2.1. What is Cultural Cinema? Defined in each group as being at one end of a simple dichotomy ArthouseMainstream Dark Not mainstream Quirky Arty-farty Experimental Obscure Alternative Niche Weird

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2.2. Arthouse vs. Mainstream ARTHOUSE Niche appeal Low budget Poorly advertised Unknown details on the film Short runs Is more about the film Accompanied and alone Mixed levels of attendance Dedicated audience Less comfort & poorer aesthetics ARTHOUSE Niche appeal Low budget Poorly advertised Unknown details on the film Short runs Is more about the film Accompanied and alone Mixed levels of attendance Dedicated audience Less comfort & poorer aesthetics MAINSTREAM Mass appeal Big budget Well advertised Famous actors/directors Long runs Is more about the hype Typically accompanied Populated audience Noisy audience More comfort & better aesthetics MAINSTREAM Mass appeal Big budget Well advertised Famous actors/directors Long runs Is more about the hype Typically accompanied Populated audience Noisy audience More comfort & better aesthetics VS.

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2.3. Cultural Cinema Venues The venue for cultural cinema has a multitude of identities Providing a range of varying experiences for the attender 1. ARTS & CULTURAL CENTRES / THEATRES 1. ARTS & CULTURAL CENTRES / THEATRES 2. FILM SOCIETIES / CLUBS 2. FILM SOCIETIES / CLUBS 3. FILM FESTIVALS 3. FILM FESTIVALS

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2.4. The Message for Venues Cultural cinema has a distinct identity which is delivered in many forms This variety generates a diversity of experience which breeds inconsistency in expectation Venues need to take into consideration this mixed sense of reality when marketing to potential and current audiences To offset negative assumptions and build on what is unique and valued about cultural film Cultural cinema has a distinct identity which is delivered in many forms This variety generates a diversity of experience which breeds inconsistency in expectation Venues need to take into consideration this mixed sense of reality when marketing to potential and current audiences To offset negative assumptions and build on what is unique and valued about cultural film IDENTITY

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3. ENGAGEMENT WITH CULTURAL CINEMA

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3.1. Level of Attendance Attenders have been predominantly selective in their attendance of cultural cinema SELECTIVE ATTENDANCE Driven by: Awareness of the film being on Personal interest in the film Having someone to go with Special offers SELECTIVE ATTENDANCE Driven by: Awareness of the film being on Personal interest in the film Having someone to go with Special offers REGULAR ATTENDANCE Almost habitual Film society/club members: Limited season Ticket deals Local community gathering REGULAR ATTENDANCE Almost habitual Film society/club members: Limited season Ticket deals Local community gathering

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3.2. Nature of Attendance An escape To relax the brain & escape from reality for a while A challenge To stimulate the brain & challenge oneself mentally Casual event Drop in to see a film no effort required Planned Arrange to go with others as part of an evening out meal/drinks included Alone Complete indulgence in the film Accompanied A reason to meet up with friends & share an outing Attenders do not have set patterns of attendance and attend in many different ways

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3.3. Personal Investment Information search researching what is on offer Personal confidence knowing what one will enjoy Face value fitting in socially with the experience Cost factor not wasting money Time & effort factor Intolerant of disappointment It can be a gamble Lapsed Attending cultural cinema warrants a certain level of personal investment

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3.4. The Message for Venues If people are making an effort to come to your venue, they need to know you are making an effort to ensure that it is a positive experience for them They need: 1. A repertoire of quality films from which to chose 2. Information in advance to make a judgement call 3. A comfortable environment in which to watch the film 4. Incentives to visit more often If people are making an effort to come to your venue, they need to know you are making an effort to ensure that it is a positive experience for them They need: 1. A repertoire of quality films from which to chose 2. Information in advance to make a judgement call 3. A comfortable environment in which to watch the film 4. Incentives to visit more often REACH OUT

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4. KEY CHARACTERISTICS OF LOW, LAPSED & NON ATTENDERS

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4.1. Low Attenders Who are they? All ages & stages enthuse about own venues hardly speak about mainstream casual & regular attenders Why do they go along? Confident will enjoy the whole experience claim to be informed open to challenging the mind membership of film society/club Why do they continue to attend? Continue to enjoy trust the venues & film society/club keep an open mind enjoy the company Why do they not go more often? No particular reason choice of film, poor facilities, poor information, lack of company, no time, financial reasons What do they need? Information on the breadth & depth of the offering quality films curated especially for them comfortable venues with excellent facilities attractive ticket deals I was intrigued to see what wouldnt be a normal film in a regular cinema Low I was very dubious about going there the first time but Ive always found it ok Low It is important to get out of your comfort zone Low

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4.2. Lapsed Attenders Who are they? From all walks of life enjoy film & include cultural cinema as option more likely to talk about mainstream film than cultural cinema Why did they go along? Variety of reasons word of mouth some engagement with the arts or others who do some are lapsed members of film societies/clubs Why do they not go now? Multifaceted disappointed in the films attended repetition in programming dislike for the facilities did not use the ticket change in personal circumstances How likely are they to go along again? Claim to hold an interest but are lazy about seeking it out waiting for it to come to them What do they need? A reason to reconsider attending information on films, familiar actors/directors/titles, reassurance about the venue facilities, promotional offers I dont go so much nowI find them less interesting than they used to be Lapsed The last time I bought the ticket, I ended up not being able to go Lapsed I stopped going to places because I didnt find them comfortable Lapsed

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4.3. Non Attenders Who are they? Broad demographic profile film appetite satiated by mainstream cinema looking for big impact film entertainment an escape where the brain does not have to think What do they think about cultural cinema? An art form antithesis to mainstream for film buffs foreign films, subtitles, challenging storylines, unknown names Why do they not go? Not for me a gamble to go along waste of time and money in uncomfortable settings do not know what they are missing and do not care enough to find out How likely are they to go in the future? Most displayed lethargy towards cultural cinema a few professed a possible likelihood of exploring it What do they need? To be told that cultural cinema is relevant to them to be tempted by a mainstream carrot a referral from a reliable source trust in the ability of venues to satisfy Someone would have to say to me you need to go to this, that would make me go Non It only appeals to certain people Non Didnt realise they had popular movies like The Guard Non

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4.4. The Message for Venues The different categories of attender pose different tasks for audience development While there are similarities, there are also distinctive issues regarding: 1. Programming 2. Venue perceptions 3. Marketing & communications The different categories of attender pose different tasks for audience development While there are similarities, there are also distinctive issues regarding: 1. Programming 2. Venue perceptions 3. Marketing & communications TARGETING

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5. MOTIVATORS & INHIBITORS

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5.1. Decision Factors AWARENESS PROGRAMMING PHYSICAL ENVIRONMENT COMPANY CONVENIENCE TIMINGCOST Key influences on deciding to attend cultural cinema

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5.2. Low Level of Awareness There is an apparent dearth of information on cultural cinema Leading to misinformed assumptions about the scope and nature of the cultural cinema experience There was low recall of marketing The nature and timing of receiving information is critical You have to go looking for it Lapsed You need to definitely publicise it more Non

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5.3. Sources of Awareness WORD OF MOUTH IS THE MOST POWERFUL SOURCE OF AWARENESS ON CULTURAL CINEMA Looking for a reliable honest account of what to expect from the film in order to make a well informed personal judgement call WOM Press Social Media Websites/Apps TV/Radio Venues

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5.4. Multi-Media The Ticket, Culture, Guardian, Paul Clarke (Irish Independent/Review), local newspapers, inserts Donald Byrne (TV3), Philip Molloy (Newstalk), The Last Word, Teletext Venue websites, entertainment websites, IrishTimes.com, Entertainment.ie, IMDb, Rotten Tomatoes, cinema app Facebook: business page, links, Liked, easy to update YouTube, Twitter Facebook: business page, links, Liked, easy to update YouTube, Twitter PRESS TV RADIO TV RADIO WEBSITE APPS WEBSITE APPS SOCIAL MEDIA

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Venues need to pursue a multi-disciplinary approach to their marketing activity Brochure:Is an essential marketing tool Visual impact, informative, user-friendly, advanced availability Mailing list: Emails and texts, no more than monthly Posters:Not top of mind but expected in venue and out of venue Website:Expected but low usage of it to date, venues need to facilitate usage Social media:Facebook presence with related activity Competitions:On radio and in press to promote awareness & interest Outreach:Red carpet events including post film talks Venues need to pursue a multi-disciplinary approach to their marketing activity Brochure:Is an essential marketing tool Visual impact, informative, user-friendly, advanced availability Mailing list: Emails and texts, no more than monthly Posters:Not top of mind but expected in venue and out of venue Website:Expected but low usage of it to date, venues need to facilitate usage Social media:Facebook presence with related activity Competitions:On radio and in press to promote awareness & interest Outreach:Red carpet events including post film talks 5.5. The Message for Venues AWARENESS

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5.6. Cultural Cinema Programming High degree of uncertainty & assumption about what types of film cultural cinema offers Especially among non attenders but also among low and lapsed attenders Attenders trust venues to deliver high quality films but they have a narrow viewpoint of the range of film on offer Non-attenders strongly expect cultural cinema to offer films they know nothing about which deters their likely consideration of it All groups were intrigued to learn cultural cinema offers more than expected Especially mainstream or just below mainstream: Argo, Lincoln, The Artist, What Richard Did You dont know whether you are going to like it or hate it Non

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5.7. Associations with Cultural Films Foreign/international films Irish films Made by independent producers With subtitles Foreign/international films Irish films Made by independent producers With subtitles Short films / Long films Lower budget films Older films Silent movies Black & white films Short films / Long films Lower budget films Older films Silent movies Black & white films Notably not comedy, sci-fi, action thriller, kids Consistent top of mind associations in all focus groups

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Venues need to offer a programme that satisfies different levels of interest in cultural film To entice new attenders by offering an entry level repertoire of film which is not too divergent from mainstream cinema but at the same time provides a unique experience which will invite consideration of repeat attendance To grow frequency by offering a range of suitably desirable films which will graduate the novice attender from mere experimentation with cultural cinema to a more learned approach to engaging with this type of film To retain engagement by offering a consistent mix of quality films which clearly sit within the remit of cultural cinema, thus, satisfying the appetite for this type of film among experienced attenders Venues need to offer a programme that satisfies different levels of interest in cultural film To entice new attenders by offering an entry level repertoire of film which is not too divergent from mainstream cinema but at the same time provides a unique experience which will invite consideration of repeat attendance To grow frequency by offering a range of suitably desirable films which will graduate the novice attender from mere experimentation with cultural cinema to a more learned approach to engaging with this type of film To retain engagement by offering a consistent mix of quality films which clearly sit within the remit of cultural cinema, thus, satisfying the appetite for this type of film among experienced attenders 5.8. The Message for Venues PROGRAMMING

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Thus, venues need to reflect on the broad mix of programming requests Irish as well as foreign/international films With and without subtitles Independent and non-independent producers Short films, standard films, long films Big budget and low budget films New releases and older films Silent movies, black & white films Also include: comedy, sci-fi, action/ thriller, kids With themed and ad hoc programming Thus, venues need to reflect on the broad mix of programming requests Irish as well as foreign/international films With and without subtitles Independent and non-independent producers Short films, standard films, long films Big budget and low budget films New releases and older films Silent movies, black & white films Also include: comedy, sci-fi, action/ thriller, kids With themed and ad hoc programming 5.9. The Message for Venues PROGRAMMING

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5.10. Physical Environment It is a balance between culture and comfort Low The physical environment is critical to the film experience There were consistent complaints in each group about actual and/or anticipated aspects of the physical environment of venues offering cultural cinema Comfort is a hugely important thing to me Lapsed

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Seating is the top of mind issue Comfortable seating with an unobstructed view, suitable leg room, personal space, and wheelchair access Good sized cinema space Large screen Complete darkness Quality sound proofing Clean and hygienic: no smell, stains, dirt Comfortably warm Large foyer to comfortably accommodate a crowd Queuing system that does not disturb people Food and drink offering Available parking Seating is the top of mind issue Comfortable seating with an unobstructed view, suitable leg room, personal space, and wheelchair access Good sized cinema space Large screen Complete darkness Quality sound proofing Clean and hygienic: no smell, stains, dirt Comfortably warm Large foyer to comfortably accommodate a crowd Queuing system that does not disturb people Food and drink offering Available parking 5.11. The Message for Venues PHYSICAL ENVIRONMENT

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5.12. Company at the Film Sharing company at a film is important to most people Being with familiar people adds to the social occasion It caters for a shared community of people dedicated to the film & respectful towards others It affords a chat before & after the film Having someone to go with is a critical factor It can be difficult to find that someone personal to go along with People are prepared to miss a film rather than go alone There is a fear of being judged by others as having no friends Film societies/clubs provide a solution to this

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Venues can offer a sense of community unique to cultural film 1. Establish a film society/club or suchlike 2. Consider running a bring a friend along programme 3. Run outreach activities to enhance familiarity among attenders 4. Develop a relationship with attenders through marketing activities 5. Create a sense of belonging and attachment to cultural cinema 6. While affording privacy for those who do not wish to socially engage Venues can offer a sense of community unique to cultural film 1. Establish a film society/club or suchlike 2. Consider running a bring a friend along programme 3. Run outreach activities to enhance familiarity among attenders 4. Develop a relationship with attenders through marketing activities 5. Create a sense of belonging and attachment to cultural cinema 6. While affording privacy for those who do not wish to socially engage 5.13. The Message for Venues COMPANY

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5.14. Convenience Convenience is a deciding factor on going to see a film Location is critical: Near public transport or parking Near pub and/or restaurant Close to home and/or work Parking is important: The availability of parking, its cost and ease of access add to the assessment of convenience when deciding on going to a cultural cinema location The timing of the film is another dimension of convenience

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Venues can enhance convenience Consider ways to compensate for difficult parking by offering discounted deals with local car parks and/or access to public transport Review scheduling of films to coincide with times that are relevant to work and leisure time Venues can enhance convenience Consider ways to compensate for difficult parking by offering discounted deals with local car parks and/or access to public transport Review scheduling of films to coincide with times that are relevant to work and leisure time 5.15. The Message for Venues CONVENIENCE

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5.16. Timing There are critical scheduling issues Time of year: Typically autumn, winter, spring Time of day: Early evening and afternoon: starting times from 2pm to 8pm Time of week: Preference for weekend but also midweek is appropriate Duration of run: Compensate for short run by providing early advance information Relevant occasions: Oscars, other awards, box-office release Competing events: Clashing with other events can strain time and finances

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Venues can cater for the timing issues of attenders There is claimed limited planning ahead for attending cultural cinema, thus, venues need to cater for spontaneous decisions by scheduling screenings to suit casual visits There is claimed missing out of films because of short runs and low awareness, thus, the marketing of films needs to allow adequate time to assist planning Venues can cater for the timing issues of attenders There is claimed limited planning ahead for attending cultural cinema, thus, venues need to cater for spontaneous decisions by scheduling screenings to suit casual visits There is claimed missing out of films because of short runs and low awareness, thus, the marketing of films needs to allow adequate time to assist planning 5.17. The Message for Venues TIMING

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5.18. Cost The cost of a cultural cinema ticket is not top of mind The anticipated enjoyment of the film and the venue is more influential There is uncertainty about the price of a ticket Price recall ranged from 4 to 11 Some expect the price to be cheaper, and others expect it to be dearer, than mainstream cinema Affordability is important: a film club/society works out more economical and eases the risk factor Combination deals are highly attractive in terms of value for money and adding to the social outing: discounts with restaurants, parking and pubs Additional expenses are not top of mind: parking, refreshments, drink/dinner Combination deals are highly attractive in terms of value for money and adding to the social outing: discounts with restaurants, parking and pubs

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By developing special offers, venues have the opportunity to attract new custom and foster repeat attendance Season ticket: film society/club Combinations: discounts with restaurants, parking and pubs Competition: win tickets, discount off tickets or meet key character Loyalty card: mixed appeal Friends: benefits of becoming a friend of the venue By developing special offers, venues have the opportunity to attract new custom and foster repeat attendance Season ticket: film society/club Combinations: discounts with restaurants, parking and pubs Competition: win tickets, discount off tickets or meet key character Loyalty card: mixed appeal Friends: benefits of becoming a friend of the venue 5.19. The Message for Venues COST

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6. COMMUNITY OF CULTURAL CINEMA

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6.1. Society/Club/Venue Membership A highly regarded source of access to cultural cinema Binding people to cultural cinema through membership, season ticket & club atmosphere Takes the edge out of the risk: expect a relatively trustworthy range of quality films Prying interest among non-members in the focus groups Secret society association due to limited awareness Scope for broadening the programme on offer Infectious enthusiasm among members

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6.2. Film Festivals Film festivals are treasured as cultural institutions by attenders A tradition in the social calendar Not just about film: may not even go to a film but take part in it socially Great atmosphere and buzz in the area People take time off and meet people there year after year Bringing all sorts of people together Some mainstream hype & red carpet events A curated range of quality films with international acclaim Need to watch out for it because popular films can sell out This level of conversation inspired non-attenders of film festivals to consider planning ahead for subsequent film festivals

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6.3. The Message for Venues The film society/club/membership and film festival serve as catalysts for attendance Venues must not lose focus of: 1. The added value of hype and outreach activities 2. The community experience 3. The ambassadorial role of attenders 4. Trust in the programming 5. Value for money The film society/club/membership and film festival serve as catalysts for attendance Venues must not lose focus of: 1. The added value of hype and outreach activities 2. The community experience 3. The ambassadorial role of attenders 4. Trust in the programming 5. Value for money FILM SOC/CLUB FESTIVALS

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7. SUMMARY & CONCLUSIONS

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7.1. Cultural Cinema Cultural cinema is seen to require more from the attender than mainstream film Information is not as widely available so has to be sought out The film is not as well-known & there is less word of mouth referral There are less opportunities to see it with short runs, single venues, etc The risk factor is greater in not knowing much in advance about the film The cinema environment is more challenging in terms of personal comfort The location of the venue may be off-putting in terms of convenience and parking Venues can work on this

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7.2. Complete Entertainment Experience Cultural cinema is not just about the film, it is about the whole entertainment experience which is provided by the venue There is a certain level of trust imposed on the venue to deliver a quality experience although this is not always met The narrow view of the repertoire of films coupled with the excitement in discovering that cultural cinema also offers cross-over films as well as other films indicates that there is a lost opportunity if the extent of the programming is not promoted The venue is required to provide comfort, in particular, quality seating, large screen, unobstructed view, heating, darkness, sound proofing, easy queuing & overall hygiene Another feature is the accompanying activity which adds to communal experience and the overall cultural learning both before and after the film Venues who provide a quality experience need to promote it strongly, while those who do not, need to work on making improvements

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7.3. Marketing & Communications Marketing and communications are essential There is misguided anticipation of venues and negative assumptions about what to expect. These need to be challenged The reactions to additional information in the research highlight the benefits to be gained from stronger promotional activity The brochure is the main channel of communication from venues There are other opportunities to be explored in terms of relationship building, website development, and social media marketing There is a high reliance on objective sources in the media. These present opportunities for cultural cinema venues to explore, to have their voice heard and to encourage attendance Audience development relies on strategic marketing and communications

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THANK YOU