Opening our eyes

How Opening fi

lm contributes to the culture of the UK our eyes How film contributes to the culture of the UK A report for the BFI by Northern Alliance and Ipsos MediaCT July 2011

What’s inside: How and where we watch films The sorts of films we watch What films do Ju ly 2011 The cultural contribution www.bfi.org.uk of individual films What’s inside: About the study team P4 P10 The study was carried out for UK Film Council/ The UK Film Council/BFI steering group BFI by Northern Alliance in association with comprised Carol Comley, David Steele, Ipsos MediaCT. Nigel Algar, Sarah Schafer-Peek and Sean Perkins. Northern Alliance is a Chartered Accountancy All the study team are grateful for the assistance firm that provides accounting, tax, financial, provided by Bertrand Moullier of Narval Media management and business consulting services and the other companies and individuals who to private and public sector organisations and provided advice and information during the individuals, especially to those operating in the stakeholder consultation, David Ettridge for his media, entertainment and creative industries. assistance in sourcing still images and to Mark Executive summary Study method Northern Alliance staff and associates engaged in Errington and Philip Metson of Radley Yeldar the report were Catherine O’Shea, Chris Chandler, for their help in designing the published report. Ian Christie, Mike Kelly and Sarah Beinart. Grateful thanks are also given to all of the rights holders who directly or indirectly provided the Ipsos is one of the UK’s leading market research images used in the report. P14 P24 organisations, ranking fifth amongst global research companies. Its specialist division Ipsos MediaCT helps clients make connections in the digital age. It is a leader in providing research solutions for companies in the fast-moving and rapidly converging worlds of media, content, telecoms and technology. Its research activities What people told us: include measurement of behaviour amongst How and where we What people told us: consumers and advanced analytics for media audience data. Ipsos MediaCT personnel engaged watch films The sorts of films we watch in the study included Adam Sheridan, Eduardo Mena Bahos and Paul Maskell. P32 P54

What people told us: The cultural contribution What films do of individual films

Contents:

1 Foreword 24 Wh at people told us: 42 Do films contribute to 54 Th e cultural contribution 2 Key points The sorts of films our identity, sense of of individual films we watch community and place 4 Executive summary 56 Which films do we 26 What films do we in the world? recognise? 9 Background like watching? 44 Do British films reflect 58 Co ntesting canons 10 Study method British life? 28 How do we decide what 60 What makes us value 14 Wh at people told us: to watch? 45 Do films help define individual films? How and where we 32 What people told us: our British identity? watch films 62 How individual films What films do 50 Do films give particular affect us 16 Ho w much film viewing 34 What effects do films expression to the do we do? 66 Conclusions have on us? Nations and Regions 17 Where do we watch films? of the UK? 70 Ap pendices 38 What do we see as the 72 Online appendices 18 How interested are we value of film? 53 Do films help us build in films compared with our individual identity? 72 Films cited in Opening 40 Do we appreciate the other activities? our eyes aesthetic aspects of films? 75 About the study team

Cover: This Is England. Courtesy of Optimum Releasing. Foreword

Film is arguably the most popular art form This report describes how we conducted today and the attention around its awards, a UK-wide survey of public attitudes to, stories and stars gives it a profile greater than and appreciation of, film – both British and its industrial size. Nevertheless, it is worth a international – viewed in the UK on any platform, respectable £4.5 billion per year to the British from cinema, to television, to digital. economy and generated an overseas trade I think you will agree the results are fascinating. surplus of more than £900 million in 2009. They describe how film moves and inspires From the point of view of public policy, however, the UK public, how it excites the emotions and it is the cultural contribution of film that matters the intellect, how it influences the shape of most. Under European Union competition law, our lives. People are not fussy whether a film government financial support is permitted is a blockbuster, a British comedy or a foreign primarily so that ‘national and regional cultures language hit. Whether it is Avatar, Alfie or Amélie, and creative potential are expressed.’1 As a if a film is well made, tells a meaningful story and consequence British films which access film engages the feelings, it is celebrated by the public. tax relief must pass a Cultural Test covering Many survey respondents spoke of films cultural content, cultural contribution, cultural ‘opening their eyes’ to issues, lives and places hubs and cultural practitioners. Selective they hadn’t known before. This report should do funding, for example Lottery funding, for film the same for any who may doubt that film makes production and distribution must also be directed a vital contribution to the culture of the UK. to cultural purposes. T. S. Eliot observed: ‘To understand the culture How do we capture the cultural contribution of is to understand the people.’2 The findings film? It is embedded in the UK’s way of life and presented here – many expressed in people’s 1 not easily reducible to a single number, financial own words – begin to describe the ways in

or otherwise. Nevertheless, understanding, Foreword Opening our eyes which film helps us understand our society, appreciating and assessing cultural contribution our history, our place in the world, our is essential for forward-looking public policy. humanity and, ultimately, ourselves. Amanda Nevill Director, BFI

1 European Commission 2001, Communication on Certain Legal Aspects Relating to Cinematographic and Other Audiovisual Works, paragraph 2. 2 Eliot, T. S. 1948, Notes Towards the Definition of Culture, page 31, cited in Richard Howells 2003, Visual Culture, Cambridge, Polity Press, page 116. Key points

Watching films is one of the Films, including mainstream popular films, carry UK’s most popular leisure powerful personal and political messages for activities. Interest in film people and many consider correlates with a higher than films seen in childhood or young adulthood as average interest in other arts influential on their lives. and entertainments and with an active interest in the Film can give world. When asked about its new insights into artistic value, people place other cultures 2 film on a par with literature Key points Opening our eyes and other ways and classical music. of life. Two‑thirds of people Film is valued highly relative to other activities; people were significantly responding to more interested in film than in pubs the survey had and clubs or watching or playing sport, and more than twice as many people seen films which are interested in films than religion. had that effect.

People see value and meaning in all Three-quarters of the survey kinds of films. The films most often mentioned by people in our survey respondents thought that films can as ‘significant’, and those they consider represent the UK best, be a good way of making people often do not appear in box-office, think about difficult or sensitive critical or industry rankings. This points to the many more issues, usually by initially triggering personal ways of valuing film, a strong emotional reaction. A clear which need to be considered alongside ‘critically-approved’ lists majority believe films are a great and those compiled as a result of ‘film enthusiast’ nomination way of learning about people from for example on IMDb. different backgrounds. Opening our eyes 3 Key points cant cant lms lms fi fi rticular). rticular). pa

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Case study one The experience of disability – Iris, My Left Foot and The King’s Speech

Iris – the 2001 film about novelist Iris Murdoch’s The survey was undertaken in the midst of struggle with Alzheimer’s disease – was raised the success of The King’s Speech so it may be in the paired depth interviews (see above) and unsurprising that this was the most frequent served as an early indicator of the nature choice of film that ‘had an effect’. Its topicality of the contribution films can make. notwithstanding, The King’s Speech clearly touched people with its portrayal of George VI’s The interviewee had nursed her mother struggle with his stutter and may continue to through a long period of Alzheimer’s disease, have a significant impact in the future, with and told how, on seeing Iris, she was one respondent commenting, ‘I felt moved that transported back to that period of her life. the King had problems that ordinary people Despite the pain of remembering the decline face every day’ and another: and death of her mother and how, for her personally, it had been an exhausting and ‘The film made me think of the difficulties emotionally draining time, she enjoyed the that other people have.’ poignancy of being brought closer to more As with Iris, it also helped one respondent, a positive memories of her relationship with woman in the South East of England, to bring and love for her mother. perspective on her own life: Film is able to make an impact in a personal, ‘I never really thought how hard life can be very intimate way and the nature of the when you have a stutter until I saw this film, engagement allows audiences to gain insight even though my grandad and uncle stutter.’ into a subject at different levels, rational and emotional, and to be able to genuinely This ability to make deep, personal

7 17,260 invitations were sent to empathise with people, eg one respondent connections, prompt reflection and draw achieve 2,036 completed surveys. found that My Left Foot, a film about a meaning – often by films ostensibly designed This is a typical response rate for a survey of this kind, given the chronically disabled Dubliner, ‘made me as entertainment and provided for commercial length of the survey and the fieldwork period. The survey realise that disabled people who can’t reasons – characterised many of the responses invite used Ipsos’ standard speak aren’t stupid’. to the survey. wording, which avoids reference to the subject of the survey in order to avoid bias towards the subject amongst respondents. The paired depth interviews were used to explore For the panel, a range of recruitment methods the themes to be pursued and the language to was used, with diverse sources utilised to ensure be used in the quantitative survey, as well as recruitment of a broad audience including being referenced directly within this report. recruitment of people who have completed a The interviews showed how people engaged face-to-face or telephone survey (in order to with (and expressed their engagement with) avoid recruitment being entirely through online film. This ranged from film as entertainment methods). The panel recruitment process included through to film raising awareness of difficult the completion of a recruitment questionnaire, and emotional issues. Specifically, these with potential panel members providing details interviews led us to avoid the use of words about themselves and their households. such as ‘culture’ and ‘impact’ as these were The Ipsos online panel features a comprehensive not terms respondents generally used or set of procedures designed to protect its surveys understood or interpreted consistently. against potentially fraudulent responses (contradictory answers, straight-lining responses,8 Quantitative survey speeding) in addition to panel quality methods of de-duplication, non-responder removal and address validation. Ipsos MORI conducted 2,036 online self- Ipsos carefully controls the frequency with completion surveys with a sample of UK adults which panel members are invited to take part in aged 15 to 74 years, between 17 February and surveys, and avoids them completing two surveys 1 March 2011. on similar subjects within a set period of time. Surveys were conducted with members of the Ipsos online panel (Great Britain) and the Research Now online panel (Northern Ireland). Case studies Surveys took an average of approximately 30 minutes for respondents to complete. The seven case studies included in the report Invitations to participate in the online survey reflect the frequency with which films were were sent to a selection of Ipsos online panel mentioned by respondents and the extent to

members. The profile of invitations was designed which they illustrate key themes emerging 13 to take into account known response rate from the report’s key findings.9 Where possible,

differences, with a greater proportion of invites preference has been given to films released some Study method Opening our eyes sent to groups known generally to have lower time ago, on the basis that these are more likely response rates to online surveys (in order to to indicate cultural contribution over time. achieve a representative profile of respondents The case studies chosen are the following: completing the survey). The overall response • Iris, My Left Foot and The King’s Speech rate for the survey was 11.8%.7 (The experience of disability). The respondents represent around 46 million • Th e Full Monty, Brassed Off and East is East UK individuals aged 15 to 74. Whilst conducted (Making the best of it: the successes of British using an online interviewing method, data have social comedy). been weighted to be representative of the UK total population aged 15 to 74 based on region, gender • Sl umdog Millionaire. and age. In addition to this weighting, the online • Trainspotting. sample has been compared to offline UK samples of the same age group and is comparable in • Th is Is England, Braveheart. terms of working status, income, marital status, • Avatar. children in household and urban/rural location. We note that our respondents are somewhat • Sch indler’s List, The Boy in the Striped Pyjamas, more educated than the UK average, but as the Life Is Beautiful (The Holocaust and film). key survey results do not vary significantly by education this has not been weighted. Supplementary interviews For the subject covered by this survey, which is not directly related to the internet or technology, we consider it appropriate to treat the results Following the completion of the survey, Northern from an online survey to be representative Alliance undertook 20 telephone interviews, of the broader population. in which survey respondents who had agreed to be re-contacted were questioned on two The survey was not introduced as being themes emerging from the survey results: specifically related to film, and there was no defining Britishness and the artistic value of film. requirement that those completing the survey Responses from these interviews are referred to should necessarily watch or be interested in films. at appropriate places in this report. Therefore, opinions relating to film versus other forms of art and entertainment may be regarded as representing the general UK population (aged 15 to 74) without any specific bias towards those favourable towards films.

8 Choosing the same point on a scale for a long list of questions. 9 The first case study, ‘Experience of disability’ Iris, My Left Foot and The King’s Speech was also chosen to illustrate the results of the paired interviews. Below: Slumdog Millionaire 14 How and where we watch films Opening our eyes What people told us: How and where 15 we watch How and where we watch films Opening our eyes films ‘ I first watched Diamonds Are Forever, when I was a teenager, so watching it ‘Charlie and the Chocolate on TV recently it brought Factory is part of our back memories of my trips family life. We watch it to the cinema years ago.’ ‘Gold finger was the at Christmas every year.’ first Bond movie I ever saw, I was eight years old and it was the only movie I have Woman seen at the small aged 45 to 54 Man Mowlem Theatre Man aged aged 65 to 74 45 to 54 in Swanage.’ 16 How much film viewing Figure 1:

How and where we watch films Opening our eyes do we do? Estimated proportions of annual total film viewing based on survey responses (Survey question B2) Based on the responses to our survey we estimate a UK total of over five billion film viewing Platform used to view films occasions per year, with cinema attendance ■ On television accounting for a relatively small proportion10 of these. Watching films remains a significant ■ On DVD/Blu-ray activity in the UK, involving a wide range of ■ Downloaded/streamed viewing ‘platforms’. Each year there appears to be over four and a half billion viewings of feature ■ At the cinema films in the homes of UK citizens, with viewings ■ On a mobile device in cinemas, on mobile devices and on planes and other places outside cinemas/at home amounting ■ On a plane to around an additional 700 million viewings. In comparison to other sources of information regarding film viewing, the respondents appear 4% 2% to be reporting less film viewing on television and 6% more viewing in cinemas and on other media, notably mobile devices and via the internet.11 8%

10 Independent of the survey, the Cinema Exhibitors Association reported total cinema admissions of 173.5 million in 2009, whereas in comparison the UK Film Council estimated the 57% number of film viewings on UK 23% television were around 20 times higher at 3.4 billion. (See UK Film Council Statistical Yearbook 2010). 11 Care should be taken in extrapolating the data to draw conclusions regarding total film viewing in the UK as a whole. The survey was designed primarily to research the nature of the response of individual people to films and film as a medium rather than to estimate the total market, though the implied level of film viewing via the internet and mobile devices appears to underline recent evidence of the continued growth of new means of consuming audiovisual media both in the UK and globally (see for example the recent report from the Digital Entertainment Group of 33% year-on-year growth in spending on streaming and subscription services in the USA). Figure 2: Watch films on television at least weekly Watch films on mobile device at least weekly Frequency of film viewing on different platforms (Survey question B2) 56% 62% 57% 64% 45% 52% 8% 11% ■ All 5% 5% 3% 1% ■ 15–24 Watch films on DVD or Blu-ray at least weekly Watch films at the cinema at least weekly ■ 25–34 ■ 35–44 ■ 45–54 46% 48% 33% 32% 31% ■ Over 55 17% 3% 5% 5% 3% 2% 2%

Watch films online at least weekly Watch films at the cinema at least monthly

47% 42% 11% 10% 19% 24% 5% 3% 29% 25% 21% 16%

A minority of the sample were weekly 17 Where do we watch films? cinemagoers. Only 3% watched a film at the

cinema every week. About three in 10 (29%) How and where we watch films Opening our eyes 12 • The home is the most frequent location for say they do so at least once a month. film viewing. 86% watch a film on television Most cinema-going respondents generally went to at least once a month and 63% watch a film large multiplex cinemas (65%). 14% tended to go on DVD or Blu-ray at least once a month. to high street or local cinemas, and 5% to smaller • Three in 10 people watch a film in the cinema cinemas that show independent, specialised or at least once a month. ‘art house’ films. A further 14% went to a variety of cinema types.13 • Online and mobile viewing is significant with 23% watching a film downloaded or streamed In general, cinema preference appeared to be from the internet at least once a month. conditioned by the choice available, with for example people living in cities more likely than • 11% reported watching a film on a mobile those in suburbs, towns or rural locations to go to device at least monthly. small cinemas specialising in independent or art • Older people (55+) are significantly less likely house films (10% compared with 3%), reflecting to watch films on newer platforms – including the fact that many independent cinemas are online, download, mobile and even DVD and located in larger towns and cities. Blu-ray. The survey also showed significant penetration of • People from minority ethnic groups tend to online platforms. One in 10 respondents watched be more avid consumers of film at the cinema a film downloaded or streamed from the internet and on digital platforms. at least once a week, 23% did so at least once a month – although the fact that the survey was Figure 2 shows the primacy of ‘at home’ film carried out online may lead to an over-estimate viewing. Just over half the respondents (56%) of activities carried out online. 5% reported watched a film on television at least once a week, watching a film on a mobile device at least once and 86% did so at least once a month. A third a week, and 11% at least monthly. Film viewing (33%) watched a film on DVD or Blu-ray at least via streaming and on mobile devices is strongly once a week, and two-thirds (63%) did so at least affected by age with over 55s significantly less once a month. likely to do either and also less likely to view films on DVD and Blu-ray.

12 The monthly attendance figure is higher than industry estimates, eg the UK Film Council Statistical Yearbook 2010 had 18% of the population attending the cinema at least once a month – although that figure was for the whole population aged 7+ whilst the current survey did not sample those under 15 or over 74. 13 ie responded that they didn’t just go to one type of cinema. See responses to survey question C2. 25 to 34 to 25 Man aged aged Man onstantly reminded of it by by it of reminded onstantly Film occupies a high position in people’s leisure leisure people’s in position high a occupies Film said people of 84% 3). (Figure interests and time news Only film. in interested were they that being as rated were television and UK the about interest. more of consistent fairly was interest of level high This older although geography and gender across interested be to likely less slightly were people film thought 55 over people of 72% film: in the in interested were more but interesting, (87%). history UK and (91%) countryside stronger a with correlates film in interest strong A of forms other many in interest average than by analysed When pursuit. cultural and leisure subjects other film, in interest of strength people’s percentage several of ‘bump’ a received list the in place to seems This 4. Figure in shown as points, society in group the amongst enthusiasts film engaged. socially and culturally most social other of range a in interest higher This through follow to tends activities cultural and more with 5), (Figure activity of levels higher into more going also film in interested very people clubs and pubs concerts, theatre, the to often film. in interest no with those than so many video games that that games video many so an have to seems It play. I big the of most on fluence in action person third budget seen.’ I’ve adventures Day… Judgment 2: Terminator c ‘ tend to be be to tend 25 to 34 to 25 14 Man aged aged Man makes makes

Ethnic minority minority Ethnic 15 55 to 64 to 55 Man aged aged Man rld. wo

terest in film correlates with a stronger stronger a with correlates film in terest ne of the most popular entertainment and and entertainment popular most the of ne than average interest in other arts, forms of of forms arts, other in interest average than in interest active an with and entertainment the People are strongly interested in film: it is it film: in interested strongly are People o interests. leisure In respondents were more likely than white white than likely more were respondents from films stream or download to respondents compared (23% week a once least at internet the a at films view to likely more and 11%) with compared (50% month a once least at cinema compared (25% device mobile a on and 27%) with 10%). with on watched films of numbers large very The film for platform popular most the – television groups age all for and board the across viewing the to points – year-olds 24 to 15 than other cultural the on broadcasters of influence strong film. of contribution • • • How interested are we in films films in we are interested How activities? other with compared People from minority ethnic groups ethnic minority from People more avid consumers of film. of consumers avid more On Any Sunday Any On love I why realise me sport.’ motorcycle ‘ spondents spondents re

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eferences to the percentage percentage the to eferences Crowd adding attributable to attributable independent effect on weekly weekly on effect independent monthly viewing, online cinema ‘White’ Lo that in groups. different from ethnic groups’ refers to to refers groups’ ethnic groups. ethnic non-white describing Respondents or Irish as themselves belonging group ethnic the ie viewing, not does effect Throughout this report report this Throughout r of included are background within 

 14 15 underlines the the underlines in living of glory countryside.’ the Far From the the From Far M ‘

Opening our eyes 18 How and where we watch films Opening our eyes 19 How and where we watch films 51% 41% 71% 71% 76% 81% 67% 59% 52% 53% 32% 32% 62% 62% 69% 50% 60% 46% 46% 43% 84% 80% 80% 88% 88% Total interested 49% 49% 47% 46% 47% 52% 48% 41% 46% 39% 48% 40% 41% 25% 45% 30%21% 46% 37%16% 28%18% 37%13 33%13 31%12 31%10 21%11 25%7 39% 39% % % % % 37% % % 34% 33% 29% 28% 28% 28% % 25% 27% 23% 22% 19% 13 17% Television UK the about News world the about News countryside/landscape The out eating and Restaurants history UK about out finding or Knowing groups or life of ways different world the around history World music rock or Pop Literature politics UK about out finding or Knowing groups or life of ways different society UK in politics World Museums sport Watching clubs and Pubs sport in part Taking Theatre/dance Art games computer or Videogames music Classical languages Different Religion or celebrities about News people famous Film interested Very interested Fairly ■ ■ Figure 3: Figure and film in Interest activities other B4) question (Survey Figure 4: Television Restaurants and eating out News about the world Strength of interest in entertainment and other activities 94% 90% 87% 80% 83% 82% 75% (ie percentage 70% 70% of respondents expressing an interest) on the part The countryside/landscape Pop or rock music Knowing or finding out about of those interested different ways of life or groups in films (Survey around the world question B4) 82% 81% 82% ■ 75% 77% 71% Very interested 67% 58% in film 44% ■ Fairly interested in film World history Literature Knowing or finding out about different ways of life or groups ■ Not interested in UK society in film 75% 74% 70% 65% 67% 68% 63% 54% 50%

Museums Pubs and clubs Taking part in sport

68% 60% 60% 56% 48% 51% 49% 20 40% 33%

How and where we watch films Opening our eyes Video games or computer games Watching sport Theatre/dance

00% 00% 00%

59% 58% 53% 58% 41% 41% 49% 25% 35%

Art Different languages News about celebrities or famous people

57% 51% 43% 38% 42% 30% 27% 29% 18%

‘ I first saw Fantasia over 50 years ago. It defined my taste

Man aged in music ever since.’ 55 to 64 ‘ Grease got me interested in

‘Black Swan made 50s/60s music.’ me look at the effect of dancing in a different way to which I usually do.’

Woman Woman aged 20 to 24 aged 35 to 44 21 Figure 5: Surf the internet or visit Listen to music on a CD or Go for a walk in the countryside

Frequency of websites at least weekly digital player at least weekly or park at least monthly How and where we watch films Opening our eyes participation in entertainment and 98% 96% 94% 85% 76% other activities on 61% 69% 68% 60% the part of those interested in film (Survey question B1) Read a newspaper Read some pages from a novel Go to a pub or club ■ Very interested at least weekly at least weekly at least monthly in film ■ Fairly interested 64% 68% 71% 64% 54% 60% 54% in film 44% 44% ■ Not interested in film Visit a museum at least Read some pages from a non- Play video or computer games six monthly fiction book at least weekly at home at least weekly

53% 44% 52% 44% 51% 37% 38% 39% 34%

Visit the theatre at least Go to a live music concert Visit an art gallery at least six monthly at least six monthly six monthly

48% 41% 46% 34% 44% 35% 25% 31% 26%

Go to a live sports event at least monthly

15% 13% 8% Case study two Making the best of it: the successes of British social comedy – The Full Monty, Brassed Off, East Is East

Stories We Tell Ourselves16 noted that one of the For an East Midlands woman of 55 to 64, the genres of UK film most widely appreciated unemployment faced by steelworkers in The Full abroad is British social comedy, including those Monty was all too close to home, but provided films in which ordinary people are seen coping welcome relief: resourcefully with problems that many can ‘I had just been made redundant and this film identify with. Our survey respondents placed is about the problems people face when out of three such films high among those that have work and the lengths they will go to in order ‘had a significant effect on UK society or to generate money. Also, it is done with a attitudes’ (Figure 18): The Full Monty17 was the great sense of humour, which made me laugh second most often cited (by 101 respondents), out loud.’ East is East was third (81 respondents) and Brassed Off was eighth (31 respondents). A 65 to 74 year-old woman in the North West These films were domestic box-office successes recalled similarly: ‘I laughed all the way and performed well internationally in spite of through – never seen a film that has such a their modest budgets, regional accents and feel good factor.’ Vivid memories such as these unglamorous settings. For 10 to 15 years, they suggest how this film has become a key part of appear to have stood the test of time and – like modern British culture, with its title becoming a Trainspotting (see case study four) – are seen as catchphrase and its climactic scene of defiance – wry expressions of modern Britishness. the men’s striptease – a much copied form of derisory protest. 22 The Full Monty How and where we watch films Opening our eyes

16 Stories we tell ourselves, page 39–40. 17 For example, the ‘Full Monty Protest’ at the 2003 Labour Party conference by steel shelving workers who had lost their pensions (see The Mail on Sunday, 28.09.03) and a recent study by Silvia Angrisani (University of Naples) reporting instances of men in Italy stripping in public to make a political point, summarised at http://www. ukfilmcouncil.org.uk/media/ pdf/p/3/Final_Euro_Parl_ Brussels_notes-02Dec10.pdf East Is East

Mark Herman’s Brassed Off (1996) attracted an English woman Ella (Linda Bassett), and their 23 comparison due to the similar theme family of six sons and one daughter has to

of a community fighting back against navigate between the father’s expectations of How and where we watch films Opening our eyes unemployment. Despite the threat of their a Muslim upbringing and their mother’s efforts colliery closing, the miners’ brass band is to accommodate English expectations. determined to have its moment of glory at a As with the other social realist comedies, this competition in London. Meanwhile a romance brought back personal memories of the period: flourishes between Andy (Ewan McGregor) and a 45 to 54 year-old woman in the South East the newly arrived Gloria (Tara Fitzgerald), who is of England: suspected of being on the side of management. Although the presence of McGregor, fresh from ‘I found it very interesting because it is his success in Trainspotting, played a part in the based in the era in which I grew up. It was film’s success – especially in the United States, an interesting insight into another culture where it was successfully marketed as a and the difficulties that can occur when romantic comedy by co-producers Miramax – two cultures meet.’ what stayed in the minds of our respondents A 25 to 34 year-old Greater London man had was the film’s political message. For a 55 to 64 ‘Never really thought about different lives’ year-old man in Yorkshire and Humberside, before seeing the film, ‘despite living in a ‘It brought out how unfair the Thatcher multicultural area’. A woman of 55 to 64, also Government policies against the mining in Greater London, summed up what most communities were, and how apathetic the audiences seem to have taken from the film: British people were in not reacting against the ‘it showed we are all human no matter Thatcher Government at the time.’ While for where we come from’, while also appreciating a younger viewer, a 20 to 24 year-old North its humour and the contribution of ‘an West of England man: excellent cast’. ‘Brassed Off is just so moving and heart Despite its popular success and the praise of breaking, to see the lives of people fall apart mainstream critics – ‘Fresh, frank, impudent but then brought back together through the and self-mocking, it marks a giant leap over power of music.’ the threshold of multicultural casting and East is East (1999), based on a play by Pakistani ethnic British cinema’ Evening Standard – East Is writer Ayub Khan-Din and directed by Irish- East was criticised by some commentators from born Damien O’Donnell, was a Film4 production the Asian community for licensing audiences about a mixed-race family in Salford in the to laugh at the negative aspects of traditional 1970s, which became a box-office success and an Pakistani culture. This was not the view of those important focus of discussion about multiracial of our respondents who chose it as a film of Britain – much as My Beautiful Laundrette had a special significance for them, who were moved decade earlier. The family shown by Khan-Din by its warm and humorous portrayal of growing is headed by a traditional Pakistani father, up in a multicultural Britain they recognise. George Khan (Om Puri), who is married to Below: Trainspotting 24 The sorts of films we watch Opening our eyes 25 The sorts of films we watch Opening our eyes What people told us: The sorts of films we watch The over 55s were less enthusiastic than younger What films do we people about blockbuster films with only 39% like watching? giving them as their preferred option. Films made without big budget special effects, • Blockbusters are the most often watched but with famous cast members were the type of film. most frequent choice for almost one in five respondents, and independent films with smaller ‘It made me • Fe wer people over age 55 prefer big budget, budgets were selected by 5%. Animation was the effects-driven films. question how most frequent choice for 7%, but with a higher proportion of people aged 25 to 44 opting for I look at film • Co medy, drama, action/adventure and suspense/thrillers are the most animation (perhaps indicating they were viewed genres in a popular genres. with children). People from minority ethnic group different way. backgrounds were almost twice as likely to prefer • There are significant differences in film animation as those from the white community. Before seeing preferences by ethnic group. this I was never Though a later question found that over one in Blockbusters were the type of film watched most three respondents were of the opinion that there interested in often by the largest group of people (Figure 6). were too few non-English language films shown films unless Almost half of respondents said they most in the UK (see Figure 16 on page 42), only 2% frequently watched blockbuster films with big they were of the survey gave foreign language films as budget special effects and star casts, with men their primary choice, again with a slight peak blockbusters.’ slightly more likely to favour blockbuster films in the age group 25 to 44. People from minority than women. ethnic groups were twice as likely to prefer films not in English (5% compared to 2% of white people).

Woman aged 45 to 54, on the experience of watching 26 Memento. The sorts of films we watch Opening our eyes

Figure 6: Blockbuster films, with big budget special effects Foreign language films, with stories set outside Type of film and a star cast of the UK and USA watched most often, all platforms18 (Survey question C4) 53% 49% 46% 50% 42% ■ Total 2% 2% 2% 2% 5% ■ Male Films made without big budget special effects, Other ■ Female but with famous cast members ■ White ■ Minority ethnic group 18% 16% 20% 18% 24% 5% 4% 6% 5% 2%

Animated (eg cartoon) films Don’t know

7% 7% 8% 7% 13% 13% 12% 13% 13% 6%

Independent or ‘indie’ films, typically made with smaller budgets

5% 6% 5% 5% 6%

18 ie at the cinema, on TV, DVD/Blu-ray, online or on a mobile device, or shown on a plane. Figure 7: Comedy Animation All preferred film types/genres 77% (Survey question C1) 69% 72% 67% 69% 48% ■ Total 32% 30% 33% 31% ■ Male Action/adventure Romance ■ Female ■ White 70% ■ Minority 59% 58% 65% 48% 50% 45% ethnic group 30% 10% 29%

Drama Musicals

66% 59% 51% 59% 52% 38% 28% 17% 28% 26%

Suspense/thriller Horror

67% 59% 62% 55% 58% 33% 27% 22% 27% 31%

Documentary Comic book movie 27 The sorts of films we watch Opening our eyes

41% 44% 38% 41% 38% 12% 17% 22% 16% 25%

Sci-fi Art house films

54% 41% 41% 43% 14% 14% 13% 14% 12% 28%

Classic films Foreign language film

41% 40% 39% 40% 31% 14% 14% 14% 14% 21%

Romantic comedy Other

57% 54% 40% 39% 22% 2% 2% 2% 2% 1%

Family film No particular favourite genre

50% 39% 39% 44% 28% 4% 4% 4% 4% 2%

Fantasy

35% 39% 32% 35% 37% Figure 8: Films are a good way of making Films can be a great way of Watching films is a good way Views on the people think about difficult learning about people from of getting together with friends or sensitive issues different backgrounds or family entertainment, educational and other effects of 74% 73% 67% films on individuals (Survey question D7) 3% 4% 8% ■ Agree On the whole, most films I watch Films can encourage fantasies I often find films ■ Disagree are pure entertainment about unachievable lifestyles thought-provoking

67% 63% 57%

8% 8% 8%

Films can reinforce negative stereotypes and divisions in society

56%

9%

28 Questioned about ALL favoured genres or types of film (not just a single most frequent preference) How do we decide

The sorts of films we watch Opening our eyes respondents indicated a wider taste (Figure 7). what to watch? Comedy, drama, action/adventure and suspense/thrillers were all favoured by over • Two-thirds of people say they watch films half of respondents. Women preferred romantic purely for entertainment. comedies, family films, romances and musicals. Men had stronger preferences for sci-fi, action/ • Th ree-quarters say that films can be a good adventure and horror films. way of making people think about difficult or sensitive issues. Foreign language films were selected by 14% of respondents, as were art house films. • St ory, genre and cast are the most important factors when deciding which films to watch. People from minority ethnic backgrounds favoured romantic comedies (54% against 39% • Ta lking to family and friends is the most of white people), romances (45% against 29%), common way of communicating information comic book movies (25% against 16%) and about films. suspense/thriller films (67% against 58%). • Pr int media, radio and television are important, with online film reviews also being used by many. • Pe ople from minority ethnic groups were more active in seeking out information ‘ Juno presents a positive about films. minority viewpoint in a low budget film with upcoming ‘ Avatar made me realise young actors. It struck a I needed to do more chord and made me hope it struck the same chord environmentally.’ with many more.’ Woman aged Man aged 35 to 44 35 to 44 Two-thirds of people agreed with the statement Many people recognised that films could have that on the whole, most films they watched were negative effects as well – over half agreed with pure entertainment, with only 9% disagreeing. the statement that films can reinforce negative The same proportion agreed that watching films stereotypes and divisions in society (14% strongly was a good way of getting together with friends agree, 42% tend to agree), and almost two-thirds or family. agreed that films can encourage fantasies about unachievable lifestyles (20% strongly agree, There was stronger agreement with statements 43% tend to agree). about the empathic or intellectual aspects of films: three-quarters of respondents agreed The most commonly identified aspect of a film with the statement that films are a good way of that was important in the decision whether or making people think about difficult or sensitive not to watch a film, on any media, was the story issues. A similar proportion agreed that films (68%) followed by the genre or type of film (62%) can be a great way of learning about people and the actors (58%) (Figure 9). from different backgrounds. For cinema-goers, the desire to see newly released A majority (57%) agreed that films could be films as soon as possible (48% of respondents) thought-provoking. These opinions were more and the spectacular visual and audio experience strongly held by those with a general interest in (39%) were key factors in the decision to watch film, and by people whose primary choice of film a film at the cinema, alongside story and cast. was independent titles. Demographically, there Cinema was also seen as being a social activity was relatively little variation in geography and with 39% including watching with family and gender. People from minority ethnic groups were friends in their decisions. more likely to agree that films were a good way of Being with friends and family was considered making people think about difficult or sensitive important when watching films in the home issues (85% compared with 73%), or learning on television and DVD. Ease of availability or about people from different backgrounds (82% convenience was important in decisions about compared with 72%). watching particular films on television, on DVD or Blu-ray and downloading/streaming films. 29 Figure 9: The story/ It’s easily available/ Want to see it as Certificate of the

Aspects important interesting story convenient soon as possible film (U, PG, 15, etc) The sorts of films we watch Opening our eyes in the decision to view a particular film, all platforms19 68% 55% 49% (Survey question C5) 36%

Genre or type of film Reviews in the Somebody else Music in the film (comedy, drama, etc) media decides

62% 53% 43% 35%

Recommendations Cost The length of the film Origin or nationality by friends/family of the film

60% 51% 43% 32%

Actors in the film It’s new/the latest Word of mouth online It’s a film I studied/ film release (blogs, forums, etc) am studying

58% 50% 40% 26%

Watching with Spectacular visual/ Film director Other friends/family audio experience

58% 49% 37% 5%

19 Percentages exclude ‘don’t know’ and ‘none of the above’. Together with non-responses these account for 14% of the weighted survey base. Figure 10: Chat about films you’ve seen with friends Read film reviews or articles online Sources of and family information on films (Survey question C7) 91% 80% 74% 64% ■ At least weekly 57% 7% 42% 28% 24% ■ At least monthly 16% ■ At least six monthly Read film reviews or articles in newspapers Get involved in discussions via online blogs/ or magazines (printed version) forums/social networks ■ At all

■ Never 83% 66% 65% 53% 8% 33% 27% 16% 15% 20%

Listen to or watch film reviews or film programmes on the radio or television

78% 58% 43% 18% 20%

30 How then do people find the information about The relatively low position of online media as films in order to make their choices? While online channels for getting information on films – in

The sorts of films we watch Opening our eyes and digital information sources have made an particular blogs and other discussion forums – impact on how people find out about films, there is particularly interesting in light of the very is still a strong tendency to look to traditional high frequency of internet use in the sample sources of information, in particular word of with 98% surfing the internet at least monthly. mouth (Figure 10). Younger people were far more likely to use online resources.20 The proportion declined Almost all those surveyed (91%) sometimes with age with only 27% of over 55s doing so chatted about films with friends and family – at least monthly. just over a quarter do so at least once a week, and almost two-thirds do so at least once People from minority ethnic groups were a month. more active and enthusiastic in seeking out information and conversation about film. Compared to that, the potential for influence They were more frequent consumers of film from people’s ‘virtual families’ appears weak reviews, articles and programmes than people with only a third of people getting involved from white backgrounds with 68% reading in discussions about films via online blogs, printed reviews at least once a month, 60% forums or social networks and only a very small reading online reviews and articles at least proportion (8%) doing so at least once a week. monthly and 57% listening to or watching film More traditional media are also important reviews or programmes on radio or television, sources of information about films. Just over compared with 52%, 41% and 42% respectively eight in 10 respondents read film reviews or of white respondents. They were also more articles in newspapers or magazines and just likely to chat about films with friends or family over three‑quarters listen to or watch film at least once a month (78% compared with 63% reviews or film programmes on the radio or of white respondents) and get involved in online television. Almost as many sometimes read discussions about film (37% at least monthly film reviews or articles online. compared with 14%).

‘Slumdog Millionaire made me realise what conditions

the slum children lived in.’ Woman aged 35 to 44

20 25 to 34 year-olds were the group most likely to regularly read film reviews and articles online; 61% did so at least once a month, compared with 49% of 15 to 24 year-olds. Case study three Slumdog Millionaire

The fourth most selected title having affected However, the film may not have been so people personally (Figure 27), Slumdog Millionaire popular without the presence of other has almost certainly benefited from its recent elements. For a 15 to 17 year-old from Yorkshire wide release and transmission on Film4 by its and Humberside, ‘It managed to show the co-producers Channel 4. The film presented poverty taking place in India and the an exhilarating journey through the slums struggles children often go through while and shadows of Mumbai, with its violence being romantic and interesting,’ while a and squalor effectively revealed by kinetic 65 to 74 year-old Northern woman admitted camerawork and a powerful score by the frankly: ‘I hated the poverty and corruption leading Bollywood composer A. R. Rahman. but loved the romance and the music.’ Widely awarded, it is the only other film And for a 45 to 54 year-old Indian woman in alongside Schindler’s List to have won Best Greater London, it was ‘very moving and Picture, Director and Screenplay at the entertaining’. A 25 to 34 year-old woman in the Golden Globes, BAFTAs and Academy Awards® South East of England summed up (where it also won five more Oscars®), and this the emotional rollercoaster the film was for scale of recognition has undoubtedly many viewers, while hinting that its impact multiplied audiences. may continue in the future: Slumdog Millionaire showed a 55 to 64 year-old ‘I had heard how good this film was, but woman in East Anglia ‘poverty in India and it was not at all what I expected. I thought the way the children had to live’. A 45 to 54 it was a comedy and not a reflection on year-old Scottish woman ‘did not realise the poverty/slavery and abuse abroad. country it was set in was so poor’. Even a It provoked strong emotions in me and 25 to 34 year-old Indian man in Greater London I found myself sobbing through parts of it. found it valuable to ‘know about a culture’, It was very well acted and directed and I while it made another Indian man of the same still think about the film now, even though 31 age in Yorkshire and Humberside ‘appreciate I saw it a year ago.’ my life’. This theme was echoed by a number The sorts of films we watch Opening our eyes The film seems to have appealed more to of respondents, as they reflected on their own women than to men, with three times more relative good fortune. An 18 to 19 year-old women choosing it as a film which had affected woman in Yorkshire and Humberside thought them than men, although responses were ‘about how much I take for granted and that recorded across the age spectrum and Slumdog not everyone has the same opportunities Millionaire seems to have the capacity to affect in life’; and a 17 to 18 year-old Scottish man all types of viewers. became ‘aware that there is serious poverty out there... and thankful for all that I have’.

Slumdog Millionaire What people told us: What films do 32 What films do Opening our eyes

Above: Avatar Opening our eyes 33 What films do cult cult fi lms lms of this of lms lms fi 22 lm as as lm fi fi lm lm fi lm to be be to lm fi 39% thought thought 39% lms: 23 21 fi lms in the last few years that that years few last the in lms fi % had seen films that encouraged them to them encouraged that films seen had % % had seen films which they had then then had they which films seen had % % had seen films that led them to take take to them led that films seen had % as moving, made made moving, as action directly related to the situation shown shown situation the to related directly action money, donated group, a joined eg film, the in letter. a wrote talked about to friends or family. family. or friends to about talked raised subject a about more out find and go film. the by 14 69 48 Overwhelmingly people reported that the the that reported people Overwhelmingly the on up follow to them caused seen had they about talking of extent the to only if experience, 12). (Figure family and friends their to it seen had respondents of two-thirds Over particularly found they that years last-few the in two-thirds under just and thought-provoking seen had they said dif some about afterwards think them made in engaging reported Many issues. sensitive or by sparked activities • • • • informative/educational (as later sections later (as informative/educational Just over half the sample thought that that thought sample the half over Just viewed half and thought-provoking was value. artistic having report will show, the depth of impact and types types and impact of depth the show, will report individuals on films certain from learning of profound). be can positive less of range a with Presented a had film that thought few very connotations, was or (6%) society or people on effect negative and games video religion, whereas (5%) boring having as seen commonly most were television 31% (32%, society or people on effect negative a respectively). 23% and Enfants Les Revoir Au w read and go me of plight the about World in Jews the France.’ II War ‘ lm lm lm, lm, lm, lm, fi fi fi 45 to 54 to 45 Man aged aged Man lm, but in other respects respects other in but lm, fi films volved. reflecting on reflecting his favourite favourite his Scottish man man Scottish aged 45 to 54, 54, to 45 aged in

ly to talk about it to friends and family. and friends to it about talk to ly o-thirds of people had seen a film they they film a seen had people of o-thirds bstantial minorities have followed up up followed have minorities bstantial % of people had seen a film recently that that recently film a seen had people of % on

ntertainment and emotional reactions reactions emotional and ntertainment a film by taking action such as joining joining as such action taking by film a otherwise or letter a writing club, a becoming – but half of the respondents think it has has it think respondents the of half but – film think third a over and value artistic educational. is 85 even – something do to them provoked had if Tw an them gave which or educational found cultures. other into insight Su People most commonly associate film with with film associate commonly most People e seems to be more highly appreciated relative to to relative appreciated highly more be to seems activities. and forms art alternative respondents were asked which of a list of words words of list a of which asked were respondents different with associated they phrases and 11) (Figure results The forms. art and activities responses. emotional toward bias strong a show words the with associated commonly was Film escapism providing at good (87%), entertaining exciting and (60%) moving or emotional (68%), most entertainment of form the was It (59%). words. those with associated commonly slightly very as television viewed Respondents than thought-provoking and relaxing more or thought-provoking more as literature and and television galleries, art News, inspirational. or informative more as regarded were literature than educational • • • • by produced effects the explore to order In What effects do films films do effects What us? on have • e the detailed analysis of survey survey of analysis detailed the e particular, see pages 62–65. pages see particular, In Se See Figure 15 on page 40. page on 15 Figure See fi.org.uk/ www.b at B5 question publications/openingoureyes

nspired. Entertained.’ nspired. 2 21 2 23 I Uplifting. Emotional. Emotional. Uplifting. ‘

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Top activity for for activity Top educational escapism moving ■ ■ ■ ■ ■ ■ ■ ■ Figure 11: Figure associated Words art of range a with activities and forms question (Survey activity Top B5. adjective each for highlighted) Just Just 77% 63% 50%

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ewing habits. ewing vi trapolating from the responses responses the from trapolating All White ethnic Minority ‑ etailed See pages 58–60 for a more more a for 58–60 pages See d re Ex million nine to up indicates taken have UK the in people these of one least at in action ways. group ■ ■ ■ Figure 12: Figure reporting Proportion watched films that of more or one had effects, of range a group ethnic broad by D6) question (Survey

25 24

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portant and relevant. relevant. and portant violent social change.’ social violent ed for oil and reliance reliance and oil for ed se message of this this of message se

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England in those as (83%) so done have to that of part is film that evidence some is There up make that factors of set debated and complex respondents of 40% identity. local and regional are there believe regions and nations all across where country the of part the in set films few too films seen had 36% and 22), (Figure live they are they who about proud feel them made that from. come they where and I always see see always I as part of my historical social social historical my of part as at filmed was it background, lived I where to near locations from also being time… the at still I family… working-class a film a be could film this see society today’s of part about UK.’ the in ‘ 39% 82% 85% 45% 84% 52% British films are an important part part important an are films British culture British of if film a watch to likely more you Are British? is it 65 to 74 to 65 Man aged aged Man ere is a stronger sense of national national of sense stronger a is ere gnificant numbers believe there should be should there believe numbers gnificant England Scotland Wales Ireland Northern epresentative of all the Nations and Regions Regions and Nations the all of epresentative of the UK. the of than Irish) and Welsh Scottish, (especially respondents though film, in identity regional Midlands East and West North North, the in are there feel particular in England of regions live. they where set films British few too South the and London outside set films more England. of People want to see films that are are that films see to want People r Th Si ■ ■ ■ ■ Figure 21: Figure value the on Views part as films of culture British of questions (Survey F5/F6/F10b) • • • in interest consistent a reveals survey The of all of representative are which films seeing film on Views UK. the of regions and nations the the across consistent remarkably are general in There differences. outstanding few with country Ireland Northern in people that evidence some is with engaged and about enthusiastic less are though – Britishness of notions and film British clear-cut. from far is this • • Do films give particular particular give films Do Nations the to expression UK? the of Regions and 55 to 64 to 55 Northern Northern Man from from Man was made in Ireland Ireland in made was

Ireland aged aged Ireland mmunity.’ . co 36

uestion D6 in Figure 12 on on 12 Figure in D6 uestion See analysis of responses to to responses of analysis See q page

57 and full of local type characters, characters, type local of full and almost in find would you that any The Quiet Man Quiet The ‘

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59 35% 29% 29% feel that there are too few few too are there that feel 58 5% 4% Set in the South/ the in Set West/East South England of Wales in Set the of part the in Set live I where country think that there were too few few too were there that think region. their those nations. In comparison only in the North North the in only comparison In nations. those England of People in Scotland, Wales and Northern Ireland Ireland Northern and Wales Scotland, in People more of desirability the about positive most are in particular in – nation home their from films set films few too are there feel 65% where Wales there that feeling respondents no and – Wales in many. too are over just Ireland Northern and Scotland both In 50% 12% The Football Factory Football The filmed in issues some Illustrated well.’ London of area that ‘ 34 31% 26% 23% to

25 Man aged aged Man 7% 36% 29% 35% 36% ’s ’s 34% 6% 4% Set in London in Set Midlands the in Set England of North or Britain rural in Set 33% Woman Woman from the the from aged 45 to 54 54 to 45 aged East Midlands East obson’s Choice obson’s Too many Too the About few Too know Don’t

amount right ■ ■ ■ ■ Figure 22: Figure the on Views set films of number parts different in (Survey UK the of F10c) question H When Figure 22 is analysed by nation and region region and nation by analysed is 22 Figure When are there believe who numbers larger are there or nation the of representative films few too Londoners (although live they which in region set films of prevalence the about ambivalent are there feeling 19% with capital, the around and in few). too are there feeling 18% and many too are the and London Greater of residents Excluding in elsewhere living respondents of 42% South, films British many too are there agreed UK the London. in set lms lms fi ghest ghest lms lms fi hi

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59 58 … I enjoyed enjoyed I … tongue-in-cheek look at the the at look tongue-in-cheek Lancashire.’ in history social ‘ – – – – – – 26% 33% 24% London London London London London relevance Yorkshire Yorkshire Yorkshire North East North 2% 2% 13% East Midlands East London/Brighton 40% 24% 23% Edinburgh, Scotland Edinburgh, Local/regional/national Local/regional/national rural England, Yorkshire England, rural North West North Midlands West London 21% 41% 51% East Midlands, Nottingham Midlands, East (Survey question F11) question (Survey Manchester, the North West North the Manchester, 60 11 14 17 10 52 24 19 19 36 21 26 32 25 18 13 12 45 34 82 29% 27% 25% 102 189 mentions Number of of Number 2% 3% 5% 37% 26% 16% Northern Ireland Northern and Yorkshire Humberside East South 32% 44% 53% 31% 32% 26% 0% 3% 1% 34% 21% 19% North Scotland Anglia East North 33% 45% 54% 21% 28% 23% 0% 4% 3% 20% 18% 36% Brassed Off Brassed mentioned) (all Potter Harry Beckham Like it Bend Factory Football The Quadrophenia East Is East East Is East Millionaire Slumdog Queen The The Full Monty Monty Full The Kes Kes Billy Elliot Elliot Billy Film Trainspotting Bridget Jones’s Diary Diary Jones’s Bridget The King’s Speech Speech King’s The A Clockwork Orange Orange Clockwork A Morning Sunday and Night Saturday Street Green Cathy Come Home Home Come Cathy This Is England England Is This Kidulthood Girls Calendar National/regional character of British films mentioned as having a significant effect on society society on 24: effect Figure significant a having as mentioned films British of character National/regional respondents more or 10 by mentioned films All UK. the in attitudes or Wales Wales Midlands East West South 60% 50% 38% Don’t know Don’t About the right right the About many Too Too few Too

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60

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61 other people choose to lead their their lead to choose people other can life that realise me made lives… enjoyed be to needs and short be about think me made Also more. depression.’ eg ill-health, mental In ‘ Below: Monty Full The

Opening our eyes 54 The cultural contribution of individual films

Opening our eyes 55 The cultural contribution of individual films

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Opening our eyes 56 The cultural contribution of individual films Opening our eyes 57 The cultural contribution of individual films 2% 2% 6% 41% 77% 16% 33% 60% 41% 55% 15% 27% 36% 24% 39% 48% 5% 61% 24% 10% 33% 34% 54% 43% 37% 97% 57% 97% 65% 93% 20% 82% The Lavender Hill Mob Mob Hill Lavender The (1951) Kidulthood (2006) Harry Potter and the Deathly Deathly the and Potter Harry (2010) I Part Hallows: Godfather The (1972) Solace of Quantum Bond: James (2008) Kane Citizen (1941) American Gangster Gangster American (2007) Others of Lives The (2006) 2% 2% 5% 65% 13% 59% 20% 40% 67% 27% 33% 34% 23% 45% 11% 11% 52% 10% 26% 52% 49% 48% 47% 47% 86% 33% 78% 39% 58% 97% 98% 94% Shaun of the Dead Dead the of Shaun (2004) Paris, Texas Texas Paris, (1984) Pan’s Labyrinth Labyrinth Pan’s (2006) The Girl with the Dragon Tattoo Tattoo Dragon the with Girl The (2009) Cinema Paradiso Paradiso Cinema (1988) Avatar Avatar (2009) Mamma Mia! Mia! Mamma (2008) Calendar Girls Girls Calendar (2003) 2% 1% 5% 3% 61% 35% 54% 79% 18% 78% 17% 16% 23% 20% 45% 38% 38% 44% 5% 2% 16% 19% 25% 73% 35% 49% 82% 97% 36% 96% 93% 63% 19% 43% 99% 80% The King’s Speech Speech King’s The (2010) The Red Shoes Shoes Red The (1948) The Italian Job Job Italian The (1969) Dirty Pretty Things Things Pretty Dirty (2002) Amélie Amélie (2001) Casablanca Casablanca (1942) Shrek Shrek (2001) Crouching Tiger, Hidden Dragon Dragon Hidden Tiger, Crouching (2000) Another Year Year Another (2010) Heard of it, it, of Heard it seen not but it of heard Never Seen it it Seen Seen or heard of it it of heard or Seen



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ctional planet Pandora as ‘a as Pandora planet ctional them to become deeply involved in the world of of world the in involved deeply become to them reminding struggles epic its with Earth, Middle shape helped that wars world two of them vision. Tolkien’s lm about the Mayan empire, a 25 to 34 year- 34 to 25 a empire, Mayan the about film had England of West South the in woman old ‘never In three contrasting responses to to responses contrasting three In only the not are they But seven). persecution Nazi the about think respondents our was 54 to 45 aged man Northern A Jews. the of Malle’s Louis by moved so about read and go me made ‘it reports he that World during France in Jews the of plight the historical are Nor II’. War aged man Scottish a genocide: of horror the of the in genocide’ of depiction ‘the found 34 to 25 second Towers Two Jackson’s Peter before seeing the the seeing before woman year-old 54 to 45 A subtitled). being it of are there ‘realised England of East South the in world wide big the in out cultures different still 17 to 15 a made it And about’. nothing know we ‘more London Greater in woman African year-old culture’. Mayan the of history the in interested individuals, and groups with identifying By been have they that report respondents our stirred cases some in and informed, moved, action. further to Two effect: major The Avatar an and Americans’, native the of persecution interpreted 44 to 35 aged man African fi minerals’. their of because Describing the film as realistic/ realistic/ as film the Describing life to true Highlighting elements of the the of elements Highlighting production or structure film’s Describing the film as making making as film the Describing or about think respondents the into insight them giving others of lives , by a 25 to 34 34 to 25 a by , lm choices point to to point choices lm fi 4% 41% 49% Australia lm lm fi lms had an effect on them, while while them, on effect an had lms fi ere is evidence that individuals have have individuals that evidence is ere ople are adept at appreciating and and appreciating at adept are ople rsonal themes and ideals such as self- as such ideals and themes rsonal number of films gave respondents respondents gave films of number sked what has had an effect on them while while them on effect an had has what sked     A  Pe subtext as even presented issues analysing colonialism, racism, including films of poverty, war, of horrors the genocide, destruction. environmental and injustice, Pe odds, the against survival realisation, overcoming and humanity’ ‘showing recognised are illness and disability valued. and Th long-term even and attitudes, their of result a as changed behaviour, films. specific encountering experiences. metaphysical Respondents favoured ‘serious’ films when when films ‘serious’ favoured Respondents a for material challenging less preferring viewing. regular Commending a good story story good a Commending plot or Describing the film as having having as film the Describing impact emotional an Describing the film as as film the Describing thought-provoking being informative or

year-old woman in the South East: ‘I thought it it thought ‘I East: South the in woman year-old go to used what to opener eye an of bit a was very film the found I racism. with ago years on involve comments Many moving.’ and emotional an from following information/stimulation response. aesthetic or emotional • • • when titles ‘serious’ favoured Respondents which asked regular for material challenging less preferring distinction crude a suggest might This viewing. but entertainment, and education between accompanying comments example, For reactions. of set complex more a the on comment a How individual films affect us affect films individual How • • lms based on them. on based lms fi eporting Respondents Respondents r

esponses to Tolkien’s books books Tolkien’s to esponses See Martin Barker’s study of of study Barker’s Martin See r the and ■ Figure 29: Figure influencing Factors an of selection the as film individual effect an had having (Survey them on D2) question

80

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‘inspiring’ ‘It made made ‘It or or ‘the obscenity obscenity ‘the The Boy in the the in Boy The , and one respondent respondent one and , . , said a 45 to 54 year 54 to 45 a said , ‘uplifting’ ‘uplifting’ , was criticised on release for for release on criticised was , ‘a film for all this young young this all for film ‘a has already deeply impressed impressed deeply already has Pyjamas Striped the in Boy The . Schindler’s List Schindler’s ‘the innocent friendship of of friendship innocent ‘the . ‘Innocence’ is the theme noted by by noted theme the is ‘Innocence’ . with with alise there are some decent some are there alise Life Is Beautiful Is Life re

oving story, well handled; funny and sad’ and funny handled; well story, oving A proportion of our respondents also found found also respondents our of proportion A ultimately film the beings in the world’ the in beings war’ of because of Schindler’s bravery in rescuing rescuing in bravery Schindler’s of because victims. Auschwitz the of some me woman. Welsh both with apparent, is variation national A more people (9%) Welsh and (8%) Scottish select to (4%) respondents English than likely List Schindler’s recent, more much Although Pyjamas Striped of microcosm a providing by viewers many the between relationship the in Holocaust the friend Jewish the and boy German privileged As understand. cannot he situation whose East South the in woman year-old 34 to 25 a contrasts it noted, England of children’ year- 44 to 35 a with respondents, our of three attracted woman Humberside and Yorkshire old barriers’. crossing ‘friendship of theme the to that fact The plausibility its that and fictional, wholly is and historians some by attacked been has against tell ultimately may figures, religious to seems it currently but acceptance, film’s the complement ‘m recommends it as as it recommends man’s about learn and see to generation man’ to inhumanity concentration a showed that film Another Benigni’s Roberto eyes, child’s through camp 1997 daring to introduce childish humour into this into humour childish introduce to daring 24 to 20 a respondents, our of one but setting, film that found man, Anglian East year-old , – Schindler’s List/ List/ Schindler’s – second second lm. ‘gave a ‘gave fi lm ; and a 20 20 a and ; ‘more real’ real’ ‘more lm. film. the by

The Boy in in Boy The fi . A 25 to 34 34 to 25 A . 81 List Schindler’s Schindler’s List Schindler’s . A 25 to 34 year-old year-old 34 to 25 A . , and the reasons given for for given reasons the and , rst encountered it in an an in it encountered rst fi Pyjamas Striped the in Boy The nanced by by financed part- film UK a , ‘made me think seriously about about seriously think me ‘made ‘somewhat moved’ ‘somewhat has been widely used in teaching, teaching, in used widely been has and and ‘read about in school’ in about ‘read ‘too many WW2 documentaries’ WW2 many ‘too The King’s Speech King’s The ncentration camp commandant’s young young commandant’s camp ncentration co Schindler’s List Schindler’s

lm’s basis in a ‘true story’ is important important is story’ ‘true a in basis film’s The licence creative the notwithstanding many, to novel, original the of author the by taken Spielberg. and Keneally, Thomas man in Yorkshire and Humberside who had had who Humberside and Yorkshire in man subject, this by moved been previously not seen having was he found to 24 year-old man in the South East of England England of East South the in man year-old 24 to it that admits time’ first the for Holocaust the know all we something to reality of sense on had it impact the forget often but about time’ the during people year-old man in Wales thought that it it that thought Wales in man year-old what he had had he what educational setting, and apart from substantial substantial from apart and setting, educational many – impact emotional its about testimony when cinema the in atmosphere the recall its of evidence strong is there – it saw first they the in male year-old 17 to 15 A value. educative made it felt England of West South son, rather than through the rescue operation operation rescue the through than rather son, Spielberg’s in Schindler Oskar by run List Schindler’s have may many so Schindler’s List Schindler’s frequently most films 10 the among were them affected having as respondents by cited with 27), (Figure personally after Case study seven study Case and Holocaust The emotional their of eloquently speak choice their Although impact. moral and of portrayal its old, years 15 over now is resonate. to continues Auschwitz Pyjamas Striped the based and Miramax/Disney) (with Films BBC writer Irish the by novel bestselling 2006 a on narrative new a as emerged has Boyne, John with viewers younger acquainting of capable of eyes the through seen here Holocaust, the a The Boy in the Striped Pyjamas/Life Is Beautiful Is Pyjamas/Life Striped the in Boy The IMDb message board board message IMDb ril 2010. ril an

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81 The The cant cant fi Gandhi ‘opened ‘opened and more more and lm above above lm fi also prompted prompted also also disturbed disturbed also Australia Crash ‘made me realise realise me ‘made Woman Woman lm has portrayed in portrayed has lm fi lm lm aged 35 to 44 to 35 aged ) and animal conservation conservation animal and ) fi lm that had a signi a had that lm fi American History X History American 2012 , , ), but one recent recent one but ), . This was selected by 41 of of 41 by selected was This . Cry Freedom Cry had a considerable impact on on impact considerable a had Rabbit Proof Fence Proof Rabbit ection on the viewer’s own situation in situation own viewer’s the on ection fl Cry Freedom Cry Gorillas in the Mist the in Gorillas all has clearly had a major impact on attitudes attitudes on impact major a had clearly has all world, developing the in poverty towards children: neglected of plight the and inequality Millionaire Slumdog a as respondents our is responses of range the and them, on impact three. study Case in summarised pointedly in in pointedly year-old 24 to 20 A respondents. of number a in happen could this that ‘shocked was woman time).’ life dad’s my (within history recent such ( change climate include raised issues Other Tomorrow after Day ( my eyes about how racism can be bred into into bred be can racism how about eyes my The consequences’. devastating with children independent American racist about ‘think to respondents several ‘what about man), year-old 34 to (25 attitudes’ aged 34 to (25 people’ other on have can you effect and behaviour ‘prejudiced about and woman) woman). aged 34 to (25 society’ across attitudes Attenborough’s Richard emphatically, less No in struggles liberation of portrayal epic and 45 aged woman, a helped former The viewers. Africa in colonialism of effect the ‘realise 54, to work’; can protest peaceful that and India and story the that wrote man aged 54 to 45 a while in Biko Steve of born been having be, can world this cruel how black a (as myself Rhodesia through lived and people Aboriginal of treatment Racist person).’ in portrayed as Australia, in is a re a is ’bridging’ a – portrayed is what to comparison new. the and known the between effect issue important Another emphasised is this and racism, is decades recent year- 34 to 25 A respondents. our of number a by Tony that writes Ireland Northern in woman old controversial Kaye’s , which which , – ‘showed ‘showed , which three three which , The Kite Runner Kite The n also challenge gender gender challenge also n Saving Private Ryan Private Saving ca made me me made were by women. by were icts, including civil wars, have have wars, civil including icts,

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lms. Three white women, aged 35 to 54, were were 54, to 35 aged women, white Three lms. the horror of the Bosnian war on women’. women’. on war Bosnian the of horror the What a 45 to 54 aged man in the South West of England. England. of West South the in man aged 54 to 45 a 54, to 45 aged woman Irish Northern a for And Wilson’s Juanita has had a powerful effect on younger generations, generations, younger on effect powerful a had has films affecting personally 10 top the in figuring viewed repeatedly 30 top the and 27) (Figure Midlands West a of response The 28). (Figure and war of ‘horror typical: is 64 to 55 aged man comments, many among But impacts’. wider its response. of variations revealing also are there was West North the in 54 to 45 aged man A got ever film any time first The shaken. ‘initially flective re Later, right. fire incoming of sound the aged man older An me’. wasn’t it glad damned – and him between bond a created it found 74 to 65 with it watched son ‘my generation: younger the this In war’. of horror the by moved was and me dialogue intergenerational create can film way, It understanding. and lmgoers aged 55 to 64 all recall having a having recall all 64 to 55 aged filmgoers male of view different ‘a giving and impact powerful recent more the to war’, to responses of quarter a Around stereotypes. Ryan Private Saving con recent More of range a by viewers to home brought been also fi in shown war civil genocidal the by ‘shocked’ Rwanda Hotel there’. not and country this ‘in living be to her of precariousness the of awareness similar A con in life to ‘how War has been a staple theme or genre within within genre or theme staple a been has War our in many and years, earliest its from cinema especially to attitude their how recorded survey shaped powerfully been has war century 20th the of memories from range Responses film. by World First the of account satirical savagely in War

face that.’ face lucky we are not to have to to have to not are we lucky just like my friends and how how and friends my like just Saving Private Ryan Private Saving were they that memorials) the men (not old men as we see at at see we as men old (not men fought in the war were young young were war the in fought realise that the people who who people the that realise ‘

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There is evidence from our survey results that that results survey our from evidence is There even and attitudes, their have individuals of result a as changed behaviour, long-term 35 aged man A films. fic speci encountering saw first who 44 to history lesson, was so moved by this ‘very, very very ‘very, this by moved so was lesson, history powerful regularly. it watch to continues and adult’ an seeing how recalls woman year-old 34 to 25 A Marshall’s Penny long-term of treatment the about book Sacks’s life’. my re-evaluate me ‘made patients, coma The Bette response: of forms the do as greatly, vary Middler’s ‘reminder a woman; aged 44 to 35 a to deal great a moment every and short is life that mothers to to 55 a For valued’. be to is children with spent Arnold’s Andrea woman, year-old 64 are lives people’s some what realise you ‘made would you street the on them see just you if like, The have.’ they problems the of idea no have my ‘opened life’, my rethink me ‘made phrases through recur to…’ decide me ‘made to…’, eyes they What survey. our in responses of hundreds ‘signi the which to degree the is to point film’s the in encoded something only not is film a by produced is but style, or characters narrative, Films spectator. and film between transaction a as them, to bring we what extent, great a to are, They portray. and dramatise they what as well behaviour, ‘influence’ simply not do humans really are capable of large acts of of acts large of capable are really humans have I film, that watching Since kindness. perform I day every and each that sure made benefit to order in kindness of act random one of act random one that believe I everyone. this world, whole the benefit can kindness is they tend to stimulate or trigger what is already already is what trigger or stimulate to tend they respondents our as produce, can they and – latent those on ‘effects’ unpredictable quite testify, respond. to predisposed of West North the in woman year-old 17 to 15 A that reported England American footballer Michael Oher: Oher: Michael footballer American me made it as me on impact big a had ‘… really

82 lm, lm, fi (1946), (1946), was summed summed was lm experience is is experience lm Inception nd such deep meaning meaning deep such nd ght we have with our our with have we ght ction’. fi fi fi lms released today’ today’ released lms fi fi lms gave respondents respondents gave lms ‘made me think about the the about think me ‘made fi ned to those that deliberately deliberately that those to ned lm to provoke far-reaching far-reaching provoke to lm A Matter of Life and Death and Life of Matter A fi fi because ‘it is about love, God and and God love, about is ‘it because Fight Club Fight lm.’ What these point to is the ability ability the is to point these What lm.’ fi neral, but also my personal life and the way way the and life personal my also but neral, lms is not con not is lms ection and self-examination. The American American The self-examination. and ection ge fi fl

world we live in and the the and in live we world inner demons’. A 35 to 44 aged Indian man in the the in man Indian aged 44 to 35 A demons’. inner Attenborough’s Richard to responded East South Shadowlands giving more and kinder became I loss. human this after of kinds many of re close no is there that noted Tyler Parker critic of triteness or excellence ‘the between correlation us. satisfy and move to ability its and movie’ a The immersive nature of the medium can work work can medium the of nature immersive The psyche audience’s its of levels many on sensibility. or which films seen had respondents our of 63% difficult some about afterwards think them made been had 48% and 12), (Figure issue’ sensitive or about more out find to film a by encouraged proportion smaller A with. dealt it subject the take to them led had film a that reported (14%) is ‘impact’ of form This action. of form some of idea common the challenges it as intriguing, where – entertainment of form ‘passive’ a as film like something as understood is ‘entertainment’ ‘engagement’. of opposite the create a problematic ‘reality’. Many other other Many ‘reality’. problematic a create 20 a including survey, the from emerge examples Midlands East the in living woman year-old 24 to that saying we perceive reality and and reality perceive we to viewers of ability The in A different dimension of of dimension different A the sense of being transported to ‘another ‘another to transported being of sense the of number A world’. Greater in woman year-old 19 to 18 an by up the on impact incredible ‘an having as London content and quality ‘the that felt She nation’. most than higher was in complexity and storyline ‘the enjoyed and this on comments Other ideas’. and detail metaphysical experiences, among them Powell Powell them among experiences, metaphysical Pressburger’s and Greater in woman year-old 64 to 55 a made which and afterlife the about differently ‘think London like’. really is Heaven what thriller psychological The mentioned often most seventh the was which (with personally respondents affected having as ‘thought- being it to referred comments), 27 with discussion deep to ‘leading provoking’, life contemplate me made ‘it how and friends’ in Movies Movies (2001). Ill Effects: Effects: Ill ollywood ollywood H (1946). For a recent recent a For (1946). , 1944. , (1933) and J. P. Mayer, Mayer, P. J. and (1933) e, for instance, the research research the instance, for e, tradition that started with the the with started that tradition in America in Studies Fund Payne pioneering the and 1930s, the in Blumer Herbert of work Conduct and Film of Sociology Parker Tyler, The The Tyler, Parker Hallucination Se on views flicting con of overview Barker Martin see research, media eds., Petley, Julian and the media/violence debate debate media/violence the

82 83 Below: Slumdog Millionaire 66 Conclusions Opening our eyes Conclusions 67 Conclusions Opening our eyes Conclusions Stories We Tell Ourselves (2009) was an expert view of the cultural impact of British films from 1946–2006, drawing on documentary evidence, cultural theory and film scholarship. In contrast, the present research broadens the field to consider all film (not just British film) and the views of ordinary members of the public. Some of the hypotheses from Stories We Tell Ourselves receive support in the findings presented in this report, in particular: • The cumulative effect over time of the cultural contribution of films. • The ability of film to capture ‘zeitgeist moments’. • The importance of the national and regional dimensions of film culture. • The significance of film for members of minority ethnic groups. • The growing importance of digital means of access 68 to films. Conclusions Opening our eyes At the same time, Opening our eyes extends our understanding of the cultural contribution of film in several important respects.

Film is central to the cultural life Why the emotional ‘hit’ of the UK is important

People rated film highly relative to most other In the survey, people repeatedly spoke about the leisure pursuits, forms of entertainment and emotional effect of films. Both the entertaining art forms; there is far more interest in film than and the intellectually stimulating aspects of playing or watching sport, going to a pub, a film begin with the emotional ‘hit’ delivered restaurant, a museum or a theatre. People are by the story. also able to distinguish between the art of film, the entertainment it provides and the reflection and insight it prompts. Film has a far-reaching range of impacts on the individual People find meaning in blockbuster films Films are seen as entertaining, thought- provoking, moving, aesthetically pleasing, prompting action, expressing identity and People repeatedly mentioned mainstream even triggering metaphysical experiences. popular films as being significant for them This ‘all round’ ability makes film a particularly and for UK society and for carrying meaning. powerful cultural medium. For the broad public, there is no distinction between ‘meaningful’ and entertaining films. The medium and the message are two sides of the same coin and people are able to appreciate the value of both. Opening our eyes 69 Conclusions lm lm fi ltural ltural cu

lm viewing viewing lm fi lm. fi ear that television executives’ executives’ television that ear cl

challenging the traditional distribution distribution traditional the challenging 84 levision for film for levision search disciplines in the UK and overseas. and UK the in disciplines search lden age for for age lden te uencing the opportunities for the for opportunities the uencing

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Films are seen as entertaining, thought- entertaining, as seen are Films pleasing, aesthetically moving, and provoking, identity expressing action, prompting experiences. metaphysical triggering even a film makes ability round’ ‘all This medium. cultural powerful particularly The contribution of film to film of contribution The identity Regional and National and National express to ability the has Film see to want people and identities, Regional telling and identities such flecting re films more perspective. Regional and National a from stories but population, whole the across However Wales, Scotland, in living people for particularly there England, of North the and Ireland Northern located are films British many too that feeling a is England. of South the and London in A key conclusion of this research is that that is research this of conclusion key A from derived films ficant signi of ‘canon’ the than broader and different is research population and critical expert, from derived ‘canons’ the conveys report our sense this In polls. industry cultural the of assessment democratic more a critique to not is This film. of contribution a is there out point to but rankings, other the films which on basis popular more and different assessed. culturally be can relevance particular of points four Finally, for Broadening the film ‘canon’ film the Broadening The international nature nature international The of were and supported survey our in people While choices their films, British about enthusiastic Many nationality. by constrained not were ones, American particularly films, international meaning ficant signi conveying as mentioned were have mentioned films The impact. emotional and received have many and recognition international cultural international the illustrating awards, this of readers Most film. by provided currency mentioned films the of most recognise will report ability the highlighting survey, our in people by near- a in culturally communicate to film of fashion. universal uardian.co.uk/media/2011/ See, for example, http://www. example, for See, g may/03/us-dvd-sales-online-tv

84 70 Appendices Opening our eyes Appendices Below: East Is East 71 Appendices Opening our eyes Appendices

(2008) (1957)

(2002)

(2001) (1966)

(1988)

(1969)

(2003) (2009) (1941) (1996) (2010) (1942) (1995) (2000) (1988) iters: Carl Foreman, Michael Wilson; Wilson; Michael Foreman, Carl iters: Fielding, Helen iters: iter: Randall Wallace; Wallace; Randall iter: iter: James Kennaway; Kennaway; James iter: Donoghue; Agnes Mary iter: Chadha; Gurinder iter: Hall; Lee iter: Herman; Mark iter: Collins; Andy iter: iters: Mark Heyman, Andres Heinz; Heinz; Andres Heyman, Mark iters: Hancock, Lee John iters: Writer: Guiseppe Tornatore; Tornatore; Guiseppe Writer: Tornatore Guiseppe Director: Kane Citizen Mankiewicz, J Herman Writers: Welles; Orson Welles Orson Director: Wr Lean David Director: Diary Jones’s Bridget Wr Curtis; Richard Davies, Andrew Maguire Sharon Director: C Girls Calendar Firth; Tim Towhidi, Juliet Writers: Cole Nigel Director: Casablanca Epstein, J Julius Writers: Koch; Howard Epstein, G Philip Curtiz Michael Director: Home Come Cathy Sandford; Jeremy Writer: Loach Ken Director: Paradiso Cinema Wr Gibson Mel Director: Kwai River the on Bridge The Director: Guy Hamilton Guy Director: Beaches Marshall Garry Director: Beckham Like it Bend Chadha Gurinder Director: Elliot Billy Daldry Stephen Director: Swan Black Herman Mark Director: Off Brassed Herman Mark Director: Braveheart B Britain of Battle Wr Wr Wr Wr Wr Wr Director: Darren Aronofsky Darren Director: Side Blind The Lewis; Michael Hancock Lee John Director: Pyjamas Striped the in Boy The Wr Wr nia; nia; fi

Opening Opening (1968) (1987)

(2010)

(1998)

(2007)

(1999) (1957) lter Grauman lter (1964)

(2010) (1990)

(2006) Wa (2008) es

(2009) (2001) ey (1979) (2009)

iter: Steven Zaillian; Zaillian; Steven iter: iters: Mel Gibson, Farhad Sa Farhad Gibson, Mel iters: Wilson; Juanita iter: Malle; Louis iter: Cameron; James iter: iter: Alan Ball; Ball; Alan iter: Jacobson; Mark Zaillian, Steven iters: McKenna; David iter: Leigh; Mike iter: iter: Dan O’Bannon; O’Bannon; Dan iter: Laurant, Guillaume iters: iter: Reginald Rose; Rose; Reginald iter: Koch; Howard Clavell, James iters: Kubrick; Stanley iter: rector: Jean-Pierre Jeunet Jean-Pierre rector: Director: Penny Marshall Penny Director: Director: Juanita Wilson Juanita Director: Enfants Les Revoir Au Wr Malle Louis Director: Australia Luhrmann; Baz Beattie, Stuart Writers: Luhrmann Baz Director: Avatar Wr Cameron James Director: Awakenings Wr Di Beauty American Mendes Sam Director: Gangster American Scott Ridley Director: X History American Wr Kaye Tony Director: Year Another Wr Leigh Mike Director: Apocalypto Wr Gibson Mel Director: There Not Am I If As Wr Wr Scott Ridley Director: Amélie Wr Jeunet; Jean-Pierre Wr Wr 12 Angry Men Men Angry 12 Wr Lumet Sidney Director: Squadron 633 Wr Director: Odyssey Space A 2001: Wr Kubrick Stanley Director: 2012 Emmerich, Roland Writers: Kloser; Harald Emmerich Roland Director: A Alien Appendix 6: 6: Appendix in cited Films our SS format SS SP

A copy of the original research brief can can brief research original the of copy A fi.org.uk/publications/ www.b at found be openingoureyes Appendix 5: 5: Appendix brief Research A full copy (anonymised) of the the of (anonymised) copy full A be can format SPSS in data survey fi.org.uk/publications/ www.b at found enable to is This openingoureyes. dataset the explore to researchers own their with conjunction in further film audiences, film into research contribution cultural the and reception film. of Appendix 4: 4: Appendix data survey Downloads in A more detailed presentation of the the of presentation detailed more A pages) (109 commentary with results fi.org.uk/ www.b at found be can publications/openingoureyes Appendix 3: 3: Appendix findings survey Detailed A full set of result tables (1,400 pages) pages) (1,400 tables result of set full A at found be can Ipsos by prepared fi.org.uk/publications/ www.b openingoureyes Appendix 2: 2: Appendix tables Result A copy of the survey questionnaire can can questionnaire survey the of copy A fi.org.uk/publications/ www.b at found be openingoureyes Appendix 1: 1: Appendix questionnaire Survey The following online appendices to this to appendices online following The available. are report

Opening our eyes 72 Appendices Chariots of Fire (1981) F H Writer: Colin Welland; Fantasia (1940) La Haine (1995) Director: Hugh Hudson Writers: Joe Grant, Dick Huemer; Writer: Mathieu Kassovitz; Charlie and the Chocolate Factory (2005) Director: Ben Sharpsteen Director: Mathieu Kassovitz Writer: John August; Far From the Madding Crowd (1967) Harry Potter and the Director: Tim Burton Writer: Frederic Raphael; Chamber of Secrets (2002) A Clockwork Orange (1971) Director: John Schlesinger Writer: Steve Kloves; Writer: Stanley Kubrick; Director: Chris Columbus Fish Tank (2009) Director: Stanley Kubrick Writer: Andrea Arnold; Harry Potter and the Crash (2004) Director: Andrea Arnold Deathly Hallows: Part 1 (2010) Writer: Paul Haggis; Writer: Steve Kloves; The Football Factory (2004) Director: Paul Haggis Director: David Yates Writers: Nick Love, John King; Crouching Tiger, Hidden Dragon (2000) Director: Nick Love Henry V (1944) Writers: James Schamus, Writers: Laurence Olivier, Alan Dent; The Full Monty (1997) Wang Hui-Ling, Tsai Kuo-Jung; Director: Laurence Olivier Writer: Simon Beaufoy; Director: Ang Lee Director: Peter Cattaneo Hobson’s Choice (1953) Cry Freedom (1987) Writers: David Lean, G Writer: John Briley; Norman Spencer, Wynyard Brown; Director: Richard Attenborough Gallipoli (1981) Director: David Lean Writer: David Williamson; D Hotel Rwanda (2004) Director: Peter Weir Writers: Keir Pearson, Terry George; The Dam Busters (1954) Gandhi (1982) Director: Terry George Writer: RC Sherriff; Writer: John Briley; Director: Michael Anderson I Director: Richard Attenborough The Dark Knight (2008) In Bruges (2008) Get Carter (1971) Writer: Christopher Nolan; Writer: Martin McDonagh; Writer: Mike Hodges; Director: Christopher Nolan Director: Martin McDonagh Director: Mike Hodges 73 The Day After Tomorrow (2004) Inception (2010) The Girl with the Dragon Tattoo Writer: Roland Emmerich; Writer: Christopher Nolan; Appendices Opening our eyes (Män Som Hatar Kvinnor) (2009) Director: Roland Emmerich Director: Christopher Nolan Writers: Nicolaj Arcel, Diamonds Are Forever (1971) Rasmus Heisterberg; The Italian Job (1969) Writers: Richard Maibaum, Director: Niels Arden Oplev Writer: Troy Kennedy Martin; Tom Mankiewicz; Director: Peter Collinson The Godfather (1972) Director: Guy Hamilton Writers: Mario Puzo, J Dirty Dancing (1987) Francis Ford Coppola; Juno (2007) Writer: Eleanor Bergstein; Director: Francis Ford Coppola Writer: Diablo Cody; Director: Emile Ardolino The Godfather: Part II (1974) Director: Jason Reitman Dirty Pretty Things (2002) Writers: Francis Ford Coppola, K Writer: Steven Knight; Mario Puzo; Director: Stephen Frears Director: Francis Ford Coppola Kes (1969) Writer: Barry Hines; E Goldfinger (1964) Director: Ken Loach Writers: Richard Maibaum, Paul Dehn; East Is East (1999) Director: Guy Hamilton Kidulthood (2006) Writer: Ayub Khan-Din; Writer: Noel Clarke; Director: Damien O’Donnell The Good, the Bad and the Ugly Director: Menhaj Huda (Il Buono, il Brutto, il Cattivo) (1966) The Empire Strikes Back (1980) Writers: Age, Scarpelli, Luciano The King’s Speech (2010) Writers: Leigh Brackett, Vincenzoni, Sergio Leone; Writer: David Seidler; Lawrence Kasdan; Director: Sergio Leone Director: Tom Hooper Director: Irvin Kershner Gorillas in the Mist (1988) The Kite Runner (2007) Erin Brockovich (2000) Writer: Anna Hamilton Phelan; Writer: David Benioff; Writer: Susannah Grant; Director: Michael Apted Director: Marc Forster Director: Steven Soderberg Grease (1978) Writer: Bronte Woodward; Director: Randal Kleiser Green (2009) Writer: Patrick Rouxel; Director: Patrick Rouxel Green Street (2005) Writers: Dougie Brimson, Lexi Alexander; Director: Lexi Alexander

eld; eld; fi (1991)

(1953) (2008) (1965) (1995) eld fi (1961) (2006)

(1995) (1977) (1992) (1997) (2001) (1963) iter: Christopher McQuarrie; McQuarrie; Christopher iter: Cameron; James iter: Clouzot; Henri-Georges iter: iters: James Cameron, Cameron, James iters: Wr Singer Bryan Director: England Is This Meadows; Shane Writer: Meadows Shane Director: Titanic Wr Cameron James Director: Trainspotting Hodge; John Writer: Boyle Danny Director: W Fear of Wages The Peur) la de Salaire (Le Wr Clouzot Henri-Georges Director: Z Zulu End Cy Prebble, John Writers: End Cy Director: Writer: Ernest Lehman; Lehman; Ernest Writer: Wise Robert Director: Wars Star Lucas; George Writer: Lucas George Director: T Honey of Taste A Delaney, Shelagh Writers: Richardson; Tony Richardson Tony Director: Day Judgment 2: Terminator Wisher; William Cameron James Director: Suspects Usual The Shrek Shrek Rossio, Terry Elliott, Ted Writers: Shulman; SH Roger Stillman, Joe Adamson, Andrew Directors: Jenson Vicky Act Sister Jr, Epps Jack Cash, Jim Writers: Howard; Joseph Rudnick, Paul Ardolino Emile Director: Millionaire Slumdog Beaufoy; Simon Writer: Tandan Loveleen Boyle, Danny Directors: Music of Sound The Wr

(1960)

(1994)

(1981)

(2000)

(1998) (2008) (2002) (2004)

(1942) (1989) (1952) (1993) (1948) (1976) (1993) (2006) (1994) iter: Lawrence Kasdan; Kasdan; Lawrence iter: West, Claudine iters: iter: Alan Sillitoe; Sillitoe; Alan iter: iter: Peter Morgan; Morgan; Peter iter: Nugent; S. Frank iter: Olsen; Christine iter: iters: Dave Humphries, Humphries, Dave iters: Purvis; Neal Haggis, Paul iters: Writer: Alan Sharp; Sharp; Alan Writer: Caton-Jones Michael Director: S Morning Sunday and Night Saturday Writer: Hubert Selby, Jr; Jr; Selby, Hubert Writer: Aronofsky Darren Director: Roy Rob Writers: Michael Powell, Powell, Michael Writers: Pressburger; Emeric Powell, Michael Directors: Pressburger Emeric Dream a for Requiem Wr Spielberg Steven Director: Harvest Random Wr Wimperis; Authur Froeschel, George LeRoy Mervyn Director: Shoes Red The Wr Reisz Karel Director: Ryan Private Saving Writer: Robert Rodat; Rodat; Robert Writer: Spielberg Steven Director: List Schindler’s Wright; Edgar Pegg, Simon Writers: Wright Edgar Director: Redemption Shawshank The Darabont; Frank Writer: Darabont Frank Director: Valentine Shirley Wr Wr Frears Stephen Director: Man Quiet The Wr Ford John Director: R Fence Proof Rabbit Wr Noyce Phillip Director: Ark Lost the of Raiders Zaillian; Steven Writer: Spielberg Steven Director: Shadowlands Nicholson; William Writer: Attenborough Richard Director: Dead the of Shaun Russell; Willy Writer: Gilbert Lewis Director: Q Quadrophenia Wr Roddam; Franc Stellman, Martin Roddam Franc Director: Solace of Quantum Forster Marc Director: Queen The

(2002)

(1975)

(1946) (2006) (1969) (2006) (2003) (1951) (2010) (1962)

(1971)

(2008) (1984) (1994) (2000) (2009) iter: Geoffrey Fletcher; Fletcher; Geoffrey iter: iter: Christopher Nolan; Nolan; Christopher iter: iters: Michael Powell, Powell, Michael iters: iters: Fran Walsh, Phillipa Boyens, Boyens, Phillipa Walsh, Fran iters: iters: Fran Walsh, Walsh, Fran iters: iter: Florian Henckel Henckel Florian iter: iter: T.E.B. Clarke; Clarke; T.E.B. iter: Writer: Quentin Tarantino; Tarantino; Quentin Writer: Tarantino Quentin Director: Wr Daniels Lee Director: Fiction Pulp Writer: Bruce Brown; Brown; Bruce Writer: Brown Bruce Director: Nest Cuckoo’s the Over Flew One Shepard; Sam Wenders, Wim Writers: Wenders Wim Director: Precious Director: Christopher Nolan Christopher Director: O War Lovely a What Oh! Deighton; Len Writer: Attenborough Richard Director: Sunday Any On Goldman; Bo Hauben, Lawrence Writers: Forman Milos Director: P Labyrinth Pan’s Fauno) del Laberinto (El Toro; del Guillermo Writer: Toro del Guillermo Director: Texas Paris, Wr Emeric Pressburger; Pressburger; Emeric Powell, Michael Directors: Pressburger Emeric Dagenham in Made Ivory; William Writer: Cole Nigel Director: Memento Wr Writer: Catherine Johnson; Johnson; Catherine Writer: Lloyd Phyllida Director: Death and Life of Matter A Phillipa Boyens, Peter Jackson; Jackson; Peter Boyens, Phillipa Jackson Peter Director: Towers Two The Rings: the of Lord The Wr Jackson; Peter Sinclair, Stephen Jackson Peter Director: M Mia! Mamma Wr von Donnersmarck; Donnersmarck; von Henckel Florian Director: Donnersmarck von Rings: the of Lord The King the of Return The Wr Director: Charles Crichton Charles Director: Arabia of Lawrence Bolt; Robert Writer: Lean David Director: Others of Lives The Anderen) der Leben (Das L Mob Hill Lavender The Wr

Opening our eyes 74 Appendices What’s inside: About the study team P4 P10 The study was carried out for UK Film Council/ The UK Film Council/BFI steering group BFI by Northern Alliance in association with comprised Carol Comley, David Steele, Ipsos MediaCT. Nigel Algar, Sarah Schafer-Peek and Sean Perkins. Northern Alliance is a Chartered Accountancy All the study team are grateful for the assistance firm that provides accounting, tax, financial, provided by Bertrand Moullier of Narval Media management and business consulting services and the other companies and individuals who to private and public sector organisations and provided advice and information during the individuals, especially to those operating in the stakeholder consultation, David Ettridge for his media, entertainment and creative industries. assistance in sourcing still images and to Mark Executive summary Study method Northern Alliance staff and associates engaged in Errington and Philip Metson of Radley Yeldar the report were Catherine O’Shea, Chris Chandler, for their help in designing the published report. Ian Christie, Mike Kelly and Sarah Beinart. Grateful thanks are also given to all of the rights holders who directly or indirectly provided the Ipsos is one of the UK’s leading market research images used in the report. P14 P24 organisations, ranking fifth amongst global research companies. Its specialist division Ipsos MediaCT helps clients make connections in the digital age. It is a leader in providing research solutions for companies in the fast-moving and rapidly converging worlds of media, content, telecoms and technology. Its research activities What people told us: include measurement of behaviour amongst How and where we What people told us: consumers and advanced analytics for media audience data. Ipsos MediaCT personnel engaged watch films The sorts of films we watch in the study included Adam Sheridan, Eduardo Mena Bahos and Paul Maskell. P32 P54

What people told us: The cultural contribution What films do of individual films

Contents:

1 Foreword 24 Wh at people told us: 42 Do films contribute to 54 Th e cultural contribution 2 Key points The sorts of films our identity, sense of of individual films we watch community and place 4 Executive summary 56 Which films do we 26 What films do we in the world? recognise? 9 Background like watching? 44 Do British films reflect 58 Co ntesting canons 10 Study method British life? 28 How do we decide what 60 What makes us value 14 Wh at people told us: to watch? 45 Do films help define individual films? How and where we 32 What people told us: our British identity? watch films 62 How individual films What films do 50 Do films give particular affect us 16 Ho w much film viewing 34 What effects do films expression to the do we do? 66 Conclusions have on us? Nations and Regions 17 Where do we watch films? of the UK? 70 Ap pendices 38 What do we see as the 72 Online appendices 18 How interested are we value of film? 53 Do films help us build in films compared with our individual identity? 72 Films cited in Opening 40 Do we appreciate the other activities? our eyes aesthetic aspects of films? 75 About the study team

Cover: This Is England. Courtesy of Optimum Releasing. Opening our eyes

How Opening fi

lm contributes to the culture of the UK our eyes How film contributes to the culture of the UK A report for the BFI by Northern Alliance and Ipsos MediaCT July 2011

What’s inside: How and where we watch films The sorts of films we watch What films do Ju ly 2011 The cultural contribution www.bfi.org.uk of individual films