DOCSLIB.ORG

Cinema Audience Statistics 2015

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cinema Audience Statistics 2015 BFI RESEARCH AND STATISTICS STATISTICS PUBLISHED AUGUST 2016 AUDIENCES Credit: The Second Best Exotic Marigold Hotel courtesy of Twentieth Century Fox. All rights reserved. AUDIENCES The audience lies at the heart of a vibrant and successful film economy and culture, yet current insight still provides a limited perspective on audience engagement. While data on cinema-going audiences is robust, new research is needed to show the full picture of the audience on all platforms. FACTS IN FOCUS Television remains the most popular platform for watching film in the UK, followed by DVD/Blu-ray and cinema. In 2015, 15-24 year olds made up the largest proportion of the UK cinema audience, at 29%. UK films were popular across all demographic groups, with a particularly strong appeal for those aged 45 and over. UK independent films were most popular among cinema-goers in this demographic. Pitch Perfect 2 had the largest above-average audience share among the 15-24 age group, while The Lady in the Van had the largest share among cinema-goers aged 55 and above. A wide range of genres appealed to women, whereas men were drawn to films with a strong action element. UK films attracted above-average audiences across all nations and regions, except the North West. Black and minority ethnic groups were over-represented among the cinema audience; disabled audiences were over-represented amongst physical video and digital consumers. AUDIENCES AUDIENCES FOR FILM IN THE UK In earlier editions of the Yearbook, we have been able to estimate the total size of the film audience in the UK based on data from a range of sources. In the last few years, however, while we have been able to track a significant growth in revenues for online services (see the Film on digital video report) we have been unable to define viewing figures for films accessed online via streaming or download-to-own. In an era where a multitude of platforms and devices for accessing film are now available to audiences, a recent survey conducted by Morris Hargreaves McIntyre provides a snapshot of how current audiences engage with film (Figure 1). Linear television was the most popular platform for accessing film, with 86% of respondents stating they had watched a film on television in the previous 12 months. DVD or Blu-ray was the next most popular, with 70% of respondents saying they had used this platform in the previous 12 months, followed by cinema-going, with 55%. Figure 1 Engagement with film by platform/device, 2015 % 90 80 70 60 50 40 30 20 10 0 y a d TV ablet T Cinem DVD/Blu-ra Smart phone eam/downloa Laptop/desktop Not watched film Str Platform/device 85.6 69.5 55.0 45.3 40.7 27.9 19.9 6.1 Source: Morris Hargreaves McIntyre Note: From Measuring Your Reach – a market study report for the British Film Institute. Survey conducted June 2015, survey population 3,000 adults (16+). In the remainder of this report, we look at UK cinema admissions by age, cinema-goers’ film preferences by age, gender, geographical location and socio-economic status, and film consumption by ethnicity and disability. BFI Statistical Yearbook BFI Statistical Yearbook 2016 3 CINEMA AUDIENCE BY AGE Figure 2 shows the age trends of cinema admissions from 2003 to 2015. The relative proportion of admissions for each category has been broadly similar throughout the time period, with fluctuations based on the release of a small number of successful titles with a strong appeal to particular age groups. However, between 2005 and 2011, there was an upward trend in the percentage of the audience drawn AUDIENCES from 15-24 year olds, with an increase from 26% to a peak of 35%. From 2012 the share for this group decreased, with 2015 recording a 10-year low of 29%. As a counter to this decline, the share of the audience associated with the older age groups (45 and over) has increased, most notably for cinema- goers aged 55 and over, due in part to the increased availability of films appealing to this demographic and their comparatively higher disposable income and leisure time. Interestingly, for most of the period the shares of admissions for 7-14 and 35-44 year olds have been very similar, which may be due to parents and carers taking their children to the cinema, a finding reflected in the next section showing films with above-average audiences for the different age groups. Figure 2 Age distribution of admissions, 2003-2015 % 40 35 30 25 20 15 10 5 0 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 7-14 12.4 17.8 15.1 17.2 18.1 15.8 17.9 13.6 14.6 14.4 12.9 14.4 13.6 15-24 30.2 26.0 26.5 31.6 29.6 31.7 30.7 31.8 34.8 33.5 32.5 30.8 29.4 25-34 21.7 20.1 19.9 19.0 17.0 18.5 19.0 23.3 19.3 18.1 19.4 18.0 18.7 35-44 14.9 18.2 17.4 16.0 17.0 15.6 16.1 14.0 14.8 15.8 16.1 15.9 16.3 45+ 20.8 17.9 21.1 16.1 18.3 - - - - - - - - 45-54 - - - - - 9.0 8.8 8.7 8.0 8.7 8.8 9.3 9.5 55+ - - - - - 9.4 7.5 8.7 8.3 9.4 10.4 11.5 12.5 Source: CAA, Film Monitor 2016 BFI Statistical Yearbook BFI Statistical Yearbook 4 FILM PREFERENCES BY AGE AUDIENCES Tables 1-6 outline films with a statistically significant above-average audience share across different age groups to show the range of films that appealed most to each group in 2015. That is to say, highlighting films where the difference between the average audience attendance and each age group attendance for a particular film is greater than a standard statistical threshold. UK films had a significant appeal across all age groups, particularly the older age groups. Animated features appealed most to the 7-14 age group with Home, Big Hero 6 and Minions having the highest significant above-average audiences. Family films and fantasies such as Pan and Cinderella also appealed strongly to this group (Table 1). While action and adventure films such as Fast & Furious 7, The Hunger Games: Mockingjay – Part 2 and Kingsman: The Secret Service dominated the list of films with the strongest appeal to 15-24 year olds, the music-based comedy Pitch Perfect 2 had the highest significant above-average audience. The ‘18’ certified Fifty Shades of Grey also had a high appeal with 30% of its audience comprised of young adults from this group (Table 2). Fifty Shades of Grey also appealed strongly to 25-34 year olds alongside many of the other titles that were popular with audiences from the 15-24 year old age group. (These groups were the only two to have above-average audiences for the Kray twins biopic, Legend, the top earning UK independent release of the year.) The film with the highest significant above-average audience share among 25-34 year olds was the action title Mad Max: Fury Road (Table 3). Family-friendly titles always feature highly among the most popular films with audiences from the 35-44 year old age group, which is made up of a high percentage of parents and carers. Releases with the most significant appeal to cinema-goers in this category in 2015 were Home, Hotel Transylvania 2 and Cinderella (Table 4). The only non-family film to achieve a significant above-average audience in this age category was Fifty Shades of Grey. A variety of genres were popular with cinema-goers in the two older age groups, both of which showed a strong preference for UK films. Releases attracting above-average audiences from both age groups included the latest James Bond outing, SPECTRE, as well as independent titles Far from the Madding Crowd and The Second Best Exotic Marigold Hotel. The film with the highest single above-average audience across all age groups in 2015 was The Lady in the Van, which generated 74% of its audience from cinema-goers aged 55 and over (Tables 5 and 6). Table 1 Films with a significant above-average audience in the 7-14 age group, 2015 top 20 films and top UK films Title Age group % of film’s total audience Home 42 Big Hero 6 38 Minions 37 Inside Out 32 Hotel Transylvania 2 32 Shaun the Sheep the Movie (UK) 31 Pan (UK) 26 Into the Woods (UK) 26 Cinderella (UK) 24 7-14 age group share of top 20 and top UK audience (%) 16 BFI Statistical Yearbook 7-14 age group in total survey population (%) 14 Source: CAA Film Monitor Notes: ‘Audience’ in this table and throughout this chapter refers to film-going occasions. That is, if a person went to the cinema to see 10 films in the year, that person would have contributed 10 film-going occasions to the audience figures above, unless otherwise stated. Repeat visits to the same films are not recorded in Cinema Advertising Association (CAA) Film Monitor. CAA Film Monitor included 82 film titles (mostly mainstream) of the 759 theatrical releases in 2015. The Film Monitor survey is carried out via a fortnightly omnibus survey of over 1,000 adults and children aged 7+, of those who had been to the cinema in the last three months.
Load more

Recommended publications
  • For Release: on Approval Motion Picture Sound Editors to Honor
    For Release: On Approval Motion Picture Sound Editors to Honor George Miller with Filmmaker Award 68th MPSE Golden Reel Awards to be held as a global, virtual event on April 16th Studio City, California – February 10, 2021 – The Motion Picture Sound Editors (MPSE) will honor Academy Award-winner George Miller with its annual Filmmaker Award. The Australian writer, director and producer is responsible for some of the most successful and beloved films of recent decades including Mad Max, Mad Max 2: Road Warrior, Mad Max Beyond Thunderdome and Mad Max: Fury Road. In 2007, he won the Academy Award for Best Animated Feature for the smash hit Happy Feet. He also earned Oscar nominations for Babe and Lorenzo’s Oil. Miller will be presented with the MPSE FilmmaKer Award at the 68th MPSE Golden Reel Awards, set for April 16th as an international virtual event. Miller is being honored for a career noteworthy for its incredibly broad scope and consistent excellence. “George Miller redefined the action genre through his Mad Max films, and he has been just as successful in bringing us such wonderfully different films as The Witches of Eastwick, Lorenzo’s Oil, Babe and Happy Feet,” said MPSE President MarK Lanza. “He represents the art of filmmaking at its best. We are proud to present him with MPSE’s highest honor.” Miller called the award “a lovely thing,” adding, “It’s a big pat on the back. I was originally drawn to film through the visual sense, but I learned to recognize sound, emphatically, as integral to the apprehension of the story.
    [Show full text]
  • Movie Store Collections- Includes Factory Download Service
    Kaleidescape Movie Store Collections- Includes Factory Download Service. *Content Availability Subject to Change. Collection of 4K Ultra HD & 4K HDR Films Academy Award Winners- Best Picture Collection of Family Films Collection of Concerts Collection of Best Content from BBC Our Price $1,250* Our Price $1,450* Our Price $2,450* Our Price $625* Our Price $650* MSCOLL-UHD MSCOLL-BPW MSCOLL-FAM MSCOLL-CON MSCOLL-BBC 2001: A Space Odyssey 12 Years a Slave Abominable Adele: Live at the Royal Albert Hall Blue Planet II A Star Is Born A Beautiful Mind Aladdin Alicia Keys: VH1 Storytellers Doctor Who (Season 8) Alien A Man for All Seasons Alice in Wonderland Billy Joel: Live at Shea Stadium Doctor Who (Season 9) Apocalypse Now: Final Cut All About Eve April and the Extraordinary World Celine Dion: Taking Chances World Tour - The Concert Doctor Who (Season 10) Avengers: Endgame All Quiet on the Western Front Babe Eagles: Farewell 1 Tour — Live from Melbourne Doctor Who (Season 11) Avengers: Infinity War All the King's Men Back to the Future Elton John: The Million Dollar Piano Doctor Who Special 2012: The Snowmen Baby Driver Amadeus Back to the Future Part II Eric Clapton: Slowhand at 70 - Live at the Royal Albert Hall Doctor Who Special 2013: The Day of the Doctor Blade Runner 2049 American Beauty Back to the Future Part III Genesis: Three Sides Live Doctor Who Special 2013: The Time of the Doctor Blade Runner: The Final Cut An American in Paris Beauty and the Beast Hans Zimmer: Live in Prague Doctor Who Special 2014: Last Christmas Blue Planet II Annie Hall Cars INXS: Live Baby Live Doctor Who Special 2015: The Husbands of River Song Bohemian Rhapsody Argo Cars 2 Jackie Evancho: Dream with Me in Concert Doctor Who Special 2016: The Return of Doctor Mysterio Chinatown Around the World in 80 Days Cars 3 Jeff Beck: Performing This Week..
    [Show full text]
  • Endgame Tickets Near Me
    Endgame Tickets Near Me Raunchy Wyndham disentangles, his epitrachelion transport impel mannishly. Gunner cultivating jealously? Conroy remains shieldlike after Archie browsing thinly or palisade any swoon. Please arrive on twitter, endgame tickets for all passengers inside his father being down into the highest paid so but powerless in walking dead with ambitions that Follow us about movies because of his future self care about finding new york times when he hate christmas, a large for when equipment as captain. Heavy hits to endgame tickets near me one of thousands of experience to find screenings for advance screenings are going to. Vietnam may who have been. An artic field is wrapping in the near future: endgame tickets near me and. Get free printable movie theaters for free screenings and endgame tickets near me satisfied. As of July 21 Avengers Endgame had collected US279 billion in valid ticket sales. He is going into a vaccine clinic saturday for all got twisted and others. Am i appreciate an abrupt halt in avengers endgame tickets near me trying to get veteran, and find an abrupt halt in. Fallback javascript, when the ad Service call fails. We use mailchimp for me know where told us to endgame tickets near me that shares some facts pop up on contemporary earth, edge of me and. Thanos later unsubscribe at opening night right way for opening weekend in nearly all. At the near the. Faced with marvel cinematic universe continues his superior officers, endgame tickets near me satisfied yet for most startling military experience have continued efforts in.
    [Show full text]
  • HH Available Entries.Pages
    Greetings! If Hollywood Heroines: The Most Influential Women in Film History sounds like a project you would like be involved with, whether on a small or large-scale level, I would love to have you on-board! Please look at the list of names below and send your top 3 choices in descending order to [email protected]. If you’re interested in writing more than one entry, please send me your top 5 choices. You’ll notice there are several women who will have a “D," “P," “W,” and/or “A" following their name which signals that they rightfully belong to more than one category. Due to the organization of the book, names have been placed in categories for which they have been most formally recognized, however, all their roles should be addressed in their individual entry. Each entry is brief, 1000 words (approximately 4 double-spaced pages) unless otherwise noted with an asterisk. Contributors receive full credit for any entry they write. Deadlines will be assigned throughout November and early December 2017. Please let me know if you have any questions and I’m excited to begin working with you! Sincerely, Laura Bauer Laura L. S. Bauer l 310.600.3610 Film Studies Editor, Women's Studies: An Interdisciplinary Journal Ph.D. Program l English Department l Claremont Graduate University Cross-reference Key ENTRIES STILL AVAILABLE Screenwriter - W Director - D as of 9/8/17 Producer - P Actor - A DIRECTORS Lois Weber (P, W, A) *1500 Major early Hollywood female director-screenwriter Penny Marshall (P, A) Big, A League of Their Own, Renaissance Man Martha
    [Show full text]
  • Giant Zombie Hand, Gratis Zombie Gelato and Mad Max Bootleg Art Await You at GRAPHIC This Weekend
    MEDIA RELEASE TUESDAY 6 OCTOBER SYDNEY OPERA HOUSE PRESENTS Giant zombie hand, gratis zombie gelato and Mad Max bootleg art await you at GRAPHIC this weekend A giant zombie hand atop the Opera House steps. Gelato Messina’s brand new The Walking Dead ice cream flavour. Bootleg art inspired by the post-apocalyptic world of Mad Max. Get it all free at the Sydney Opera House when GRAPHIC takes over from Saturday 10 – Sunday 11 October. In the Mad Max Artist Alley the heroes, villains and wastelands of Mad Max: Fury Road will appear as reinterpreted by underground illustrators, including Sydney’s Chris Yee, James Jirat Patradoon and Georgia Hill, Melbourne’s Maddy Young and Paris’ own Ilk. The Mad Max Artist Alley, in the Concert Hall’s harbourside Northern Foyer, is co-curated by cult art collectives The Opening Hours and Goodspace, in collaboration with GRAPHIC. Looming over the Forecourt from the top of the Opera House steps, a four-metre-tall zombie hand straight out of The Walking Dead will count down to the Season 6 premiere on Sunday morning. Gelato Messina will be serving free cups of ‘Carl’s Chocolate Pudding’, the perfect blend of gruesome and delicious, from their ‘Alexandria Ice Scream’ pop-up store between midday and 4.00pm over the weekend. Since its inception in 2010, GRAPHIC has evolved into a festival like no other, commissioning and presenting new works from some of the world’s most respected artists including, but not limited to, Neil Gaiman (2010), Shaun Tan (2010), Gotye (2011), Pixar’s Lee Unkrich (2012) and Art Spiegelman (2013).
    [Show full text]
  • Arxiv:1805.06576V5 [Stat.ML] 11 Nov 2018
    Mad Max: Affine Spline Insights into Deep Learning RANDALL BALESTRIERO, RICHARD BARANIUK Rice University, Houston, Texas, USA [email protected], [email protected] We build a rigorous bridge between deep networks (DNs) and approximation theory via spline functions and operators. Our key result is that a large class of DNs can be written as a composition of max- affine spline operators (MASOs), which provide a powerful portal through which to view and analyze their inner workings. For instance, conditioned on the input signal, the output of a MASO DN can be written as a simple affine transformation of the input. This implies that a DN constructs a set of signal- dependent, class-specific templates against which the signal is compared via a simple inner product; we explore the links to the classical theory of optimal classification via matched filters and the effects of data memorization. Going further, we propose a simple penalty term that can be added to the cost function of any DN learning algorithm to force the templates to be orthogonal with each other; this leads to significantly improved classification performance and reduced overfitting with no change to the DN architecture. The spline partition of the input signal space that is implicitly induced by a MASO directly links DNs to the theory of vector quantization (VQ) and K-means clustering, which opens up new geometric avenue to study how DNs organize signals in a hierarchical fashion. To validate the utility of the VQ interpretation, we develop and validate a new distance metric for signals and images that quantifies the difference between their VQ encodings.
    [Show full text]
  • Análisis Estadístico De La Relación Del Ingreso De Los Títulos Exhibidos Del Sector Cinematográfico En Las Zonas Del Bajío Y Pacífico: 2010–2016
    UNIVERSIDAD AUTÓNOMA DEL ESTADO DE MÉXICO FACULTAD DE ECONOMÍA LICENCIATURA EN ACTUARIA TESINA: Análisis estadístico de la relación del ingreso de los títulos exhibidos del sector cinematográfico en las Zonas del Bajío y Pacífico: 2010–2016. SUSTENTANTE: Eduardo Genaro Archundia Gama Junio de 2020 Contenido INTRODUCCIÓN: ...................................................................................................... 4 Objetivos: ............................................................................................................... 4 MARCO TEORICO: ................................................................................................... 6 CAPÍTULO 1. Antecedentes del cine en México. ...................................................... 6 1.1. Estudios Relacionados con el tema de investigación ................................... 8 CAPÍTULO 2. Industria Cinematográfica ................................................................. 15 2.1. Demografía. ................................................................................................... 22 2.1.1. Ciudades en México ................................................................................... 22 2.2. Exhibición ...................................................................................................... 26 2.3. Principales exhibidoras en México ................................................................ 29 2.3.1. Cinepolis ..................................................................................................... 29 2.3.2.
    [Show full text]
  • A Level Film Studies Candidate Style Answers
    Qualification Accredited A LEVEL Candidate Style Answers FILM STUDIES H410 For first teaching in 2017 H410/02 Critical approaches to film Version 1 www.ocr.org.uk/filmstudies A Level Film Studies Candidate Style Answers Contents Introduction 3 Section A Question 2: Level 5 answer 4 Commentary 6 Section A Question 2: Level 3 answer 7 Commentary 7 Section B Question 4: Level 5 answer 8 Commentary 10 Section B Question 4: Level 3 answer 11 Commentary 11 Section C Question 5: Level 5 answer 12 Commentary 14 Section C Question 5: Level 3 answer 15 Commentary 16 Section C Question 7: Level 5 answer 17 Commentary 19 Section C Question 7: Level 3 answer 20 Commentary 21 Section C Question 10: Level 5 answer 22 Commentary 24 Section C Question 10: Level 3 answer 25 Commentary 25 2 © OCR 2018 A Level Film Studies Candidate Style Answers Introduction Please note that this resource is provided for advice and guidance only and does not in any way constitute an indication of grade boundaries or endorsed answers. Whilst a senior examiner has provided a possible level for each Assessment Objective when marking these answers, in a live series the mark a response would get depends on the whole process of standardisation, which considers the big picture of the year’s scripts. Therefore the level awarded here should be considered to be only an estimation of what would be awarded. How levels and marks correspond to grade boundaries depends on the Awarding process that happens after all/most of the scripts are marked and depends on a number of factors, including candidate performance across the board.
    [Show full text]
  • Mad Max Tail Credits
    Max Mel Gibson (Rockatansky, a cop with a Bronze badge, hence 'The Bronze') Jessie Joanne Samuel (Rockatansky) Toecutter Hugh Keays-Byrne Jim Goose Steve Bisley (Jimmy the Goose) Johnny the Boy Tim Burns Fifi Roger Ward (Captain Fifi MacAffee, aka "Fif") Cast in alphabetical order: Nurse Lisa Aldenhoven Mudguts David Bracks Clunk Bertrand Cadart Underground Mechanic David Cameron (Barry) Singer Robina Chaffey Sarse Stephen Clark Toddler Mathew Constantine Ziggy Jerry Day Station Master Reg Evans Diabando Howard Eynon Benno Max Fairchild Grinner John Farndale Senior Doctor Peter Felmingham May Swaisey Sheila Florence (sic, aka Florance) Starbuck Nic Gazzana Lair Hunter Gibb Nightrider Vince Gil (sic, aka Vincent Gill, aka Crawford Montegamo, per subtitles, also Montizano) Silvertongue Andrew Gilmore Labatouche Jonathon Hardy (sic, aka Jonathan) Sprog Brendan Heath Cundalini Paul Johnstone Grease Rat Nick Lathouris Charlie John Ley Roop Steve Millichamp Junior Doctor Phil Motherwell Scuttle George Novak Bubba Zanetti Geoff Parry Nightrider's Girl Lulu Pinkus TV Newsreader Neil Thompson Midge Billy Tisdall People's Observer Gil Tucker Girl in Chevvy Kim Sullivan with John Arnold Tom Broadbridge Peter Culpan Peter Ford Clive Hearne Telford Jackson Kristine Kaman Joan Letch Kerry Miller Janine Ogden Di Trelour Vernon Weaver Paul Young Brendan Young Associate Producer Bill Miller Editors Tony Paterson Cliff Hayes Director of Photography David Eggby Art Director Jon Dowding Asst. Art Director Steve Amezdroz Stunt Co-ordinator Grant Page Costume Designer Clare Griffin Sound Recordist Gary Wilkins Production Co-ordinator Jenny Day Special Effects Chris Murray Casting Mitch Consultancy First Assistant Director Ian Goddard Second Asst. Director Steve Connard Third Assistant Director Des Sheridan Production Asst.
    [Show full text]
  • Infinity War Becomes Highest-Grossing Imax Film of All Time in China
    MARVEL STUDIOS’ AVENGERS: INFINITY WAR BECOMES HIGHEST-GROSSING IMAX FILM OF ALL TIME IN CHINA IMAX China Enjoys Highest May Box Office in Company’s History SHANGHAI – June 1, 2018 – IMAX China Holding, Inc. (HKSE:1970) today announced that Marvel Studio’s Avengers: Infinity War, which marks the first Hollywood film to ever be shot entirely with IMAX® cameras, generated approximately RMB 235 million by the end of May from more than 500 IMAX® theatres in China, surpassing Fast and Furious 7 to become the top-grossing IMAX film of all time in China. The film will continue its successful run in IMAX theatres during the upcoming weeks. Driven by the strong performance of Avengers: Infinity War, IMAX grossed RMB 264 million for the month of May, a new May record for IMAX and its second highest monthly box office of all time in China. “We’d like to extend our sincere congratulations to our friends Joe and Anthony Russo, Kevin Feige, and the teams at Disney and Marvel and are so honored that by shooting the entire film with IMAX cameras we could play a meaningful role in their huge success,” said Greg Foster, CEO of IMAX Entertainment and Senior Executive Vice President, IMAX Corp. “We look forward to the film’s continued run over the coming weeks.” ### About IMAX China IMAX China is a subsidiary of IMAX Corporation, and is incorporated under the laws of Cayman Islands. IMAX China was established by IMAX Corporation specifically to oversee the expansion of IMAX's business throughout Greater China. IMAX China trades on the Hong Kong Stock Exchange under the stock code "HK.1970." About IMAX Corporation IMAX, an innovator in entertainment technology, combines proprietary software, architecture and equipment to create experiences that take you beyond the edge of your seat to a world you’ve never imagined.
    [Show full text]
  • How China's Censorship and Influence Affect Films Worldwide
    October 28, 2015 Directed by Hollywood, Edited by China: How China’s Censorship and Influence Affect Films Worldwide Sean O’Connor, Research Fellow, Economics and Trade and Nicholas Armstrong, Esq., Research Fellow Disclaimer: This paper is the product of professional research performed by staff of the U.S.-China Economic and Security Review Commission, and was prepared at the request of the Commission to support its deliberations. Posting of the report to the Commission’s website is intended to promote greater public understanding of the issues addressed by the Commission in its ongoing assessment of U.S.- China economic relations and their implications for U.S. security, as mandated by Public Law 106-398 and Public Law 108-7. However, the public release of this document does not necessarily imply an endorsement by the Commission, any individual Commissioner, or the Commission’s other professional staff, of the views or conclusions expressed in this staff research report. Table of Contents Abstract ......................................................................................................................................................................3 Background ................................................................................................................................................................4 China’s Growing Film Market ...................................................................................................................................5 China’s Film Industry Development ......................................................................................................................6
    [Show full text]
  • The Portrayal of Letty's Masculinity in Fast And
    THE PORTRAYAL OF LETTY’S MASCULINITY IN FAST AND FURIOUS 6 MOVIE A GRADUATING PAPER Submitted in Partial Fulfillment of the Requirement for Gaining the Bachelor Degree in English Literature By: JAZILATUS SILFIYAH 13150015 ENGLISH DEPARTEMENT FACULTY OF ADAB AND CULTURAL SCIENCES STATE ISLAMIC UNIVERSITY OF SUNAN KALIJAGA YOGYAKARTA 2017 KEM ENTRIAN AGAMA UNIVERSITAS ISLAM NEGERI SUNAN KALIJAGA FAKULTAS ADAB DAN ILMU BUDAYA JURUSAN SASTRA INGGRIS Alamal: JI . Marsda AdisuciplO Telp/Fax. (0274) 513949 Yogyakarta55281 , email: [email protected] NOTA DJNAS Hal : Skripsi a.n. Jazilallis Silfiyab Yth. Dekan Fakultas Adab dan llmu 811daya UIN Sunan Kalijaga Di Yogyakarta Assalanm 'alaikum Wr. Wb. Setelah memeriksa, meneliti , dan memberikan arahan untuk perbaikan alas skripsi saudara: Nama : JAZILATUS SILFIY AH NIM : 13150015 Prodi : Sastra Inggris FakuJlas : Adab dan lImu 8udaya Judul THE PORTRA VAL OF LETTY'S MASCULINITY LN FAST AND FURIOUS 6 MOVIE Kami menyatakan bahwa skripsi tersebut sudah dapat diajukan pada sidang Munaqasyah lUltuk memenuhi salah satu syarat memperoleh gelar Srujana Sastra Inggris. Atas perhatiannya, kami ucapkan terimakasih. Wassalamu 'alai/alll/ Wr. Wb. Yogyakarta, 14 November 2017 Pembimbing, Witriani, S.S ,M. um NIP. 197208012006042002 THE PORTRAYAL OF LETTY’S MASCULINITY IN FAST AND FURIOUS 6 MOVIE Oleh: Jazilatus Silfiyah Abstrak Fast and Furious 6 adalah film bergenre action. Film ini tentang Letty sebagai pembalap jalanan. Pada film Fast and Furious 6, Letty sebagai tokoh utama mempunyai karakter dominan maskulin seperti perempuan kuat, suka berkelahi, agresif, dan memiliki power. Letty bergabung dengan tim Dom yaitu Dom, Brian, Tej, Han, Mia, dan Letty. Penelitian ini bertujuan untuk mengetahui bagaimana gambaran sisi kemaskulinitasan pada tokoh Letty.
    [Show full text]