The global box office reached $38.6 billion in 2016, a 1% increase over 2015. In the US and Canada, box office revenues rose 2% to $11.4 billion. Worldwide, the number of cinema screens grew 8% to nearly 164,000, driven by an 18% increase in Asia Pacific screens. Digital screens also increased globally, comprising 95% of worldwide screens in 2016.
Lesbian, gay, bisexual, and transgender travel has always existed, but recently mainstream companies have been tailoring campaigns to the demographic. As social and political views in the U.S. evolve and become more accepting of the LGBT community, we see businesses revamping their marketing models to become more inclusive as well.
Lesbian, gay, bisexual, and transgender travel has always existed, but recently mainstream companies have been tailoring campaigns to the demographic. As social and political views in the U.S. evolve and become more accepting of the LGBT community, we see businesses revamping their marketing models to become more inclusive as well.
Allow us to introduce to you the results of our new influencer surveys, which are all about the Oscars and movie-watching habits among influencers. 74% say that ever since they discovered online streaming, they go to movie theatres far less. Check out what we have discovered from surveying 1300 indaHash influencers.
ThinkNow Media™ Explores Streaming and Live TV Habits of Total Market ConsumersThinkNow
Consumer demand for streaming services has opened the door for new players. Snapchat has signed development deals in the past year with Walt Disney’s ESPN, Discovery, the NFL, A+E Networks, Time Warner’s Turner Broadcasting, and Vice Media. Twitter recently signed on to stream several sports leagues, which is on par with its strategy to carve out their share of the live streaming category. Facebook will stream 20 MLB games for free this season. And YouTube TV is now streaming live TV for cord-cutters around the globe. But it’s not just social networks looking to capitalize on the popularity of streaming. Comcast now allows its X1 customers to stream Netflix seamlessly from their service.
As you can see, things in media are, for lack of better words, complicated. Unpacking who watches what and where is becoming increasingly difficult. So, ThinkNow Research wanted to get back to basics and just ask people how they consume media. In our recent study, ThinkNow Media™, we look at a nationally representative sample of U.S. Hispanics, African-Americans, Asians and non-Hispanic whites to see if there were any major differences in usage across the major media modes.
The findings of the study are depicted in our 2017 report, now available for download at no cost to you.
DESIGN:RETAIL FORUM: In-Store Technology As Retailtainment: Bright Shiny Obje...Deborah Weinswig
Retailers have invested in a variety of digital store technologies ranging from interactive displays and virtual dressing rooms to in-store customization and smart shelves. As consumers increasingly turn to e-commerce, retailers must create a unique in-store experience to maintain footfall. This presentation will address the following questions: What will be the overall potential impact of implementing these technologies? What are the challenges of implementing such technologies? And what is the impact on customer experiences in both the short and long term?
We are in the eye of a hurricane in global trade, unlike anything anyone has seen in recent history. Andy Grove calls this time a strategic inflection point, “a time in the life of a business [or country] when its fundamentals are about to change. That change can mean an opportunity to rise to new heights. But it may just as likely signal the beginning of the end,” (Grove, Only the Paranoid Survive). Our rules of thumb and assumptions are no longer valid, and countries we hadn’t considered to be competitors in the past are emerging ahead of the US. Listen and learn as Professor Doggett examines recent global trends and zeroes in on the future global economy as impacted by recent Chinese economic growth.
As a film director, I have always been awestruck by the magic of animation. Animation, a medium once considered solely for the amusement of children, has undergone a significant transformation over the years. Its evolution from a rudimentary form of entertainment to a sophisticated form of storytelling has stirred my creativity and expanded my vision, offering limitless possibilities in the realm of cinematic storytelling.
Are the X-Men Marvel or DC An In-Depth Exploration.pdfXtreame HDTV
The world of comic books is vast and filled with iconic characters, gripping storylines, and legendary rivalries. Among the most famous groups of superheroes are the X-Men. Created in the early 1960s, the X-Men have become a cultural phenomenon, featuring in comics, animated series, and blockbuster movies. A common question among newcomers to the comic book world is: Are the X-Men Marvel or DC? This article delves into the history, creators, and significant moments of the X-Men to provide a comprehensive answer.
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Allow us to introduce to you the results of our new influencer surveys, which are all about the Oscars and movie-watching habits among influencers. 74% say that ever since they discovered online streaming, they go to movie theatres far less. Check out what we have discovered from surveying 1300 indaHash influencers.
ThinkNow Media™ Explores Streaming and Live TV Habits of Total Market ConsumersThinkNow
Consumer demand for streaming services has opened the door for new players. Snapchat has signed development deals in the past year with Walt Disney’s ESPN, Discovery, the NFL, A+E Networks, Time Warner’s Turner Broadcasting, and Vice Media. Twitter recently signed on to stream several sports leagues, which is on par with its strategy to carve out their share of the live streaming category. Facebook will stream 20 MLB games for free this season. And YouTube TV is now streaming live TV for cord-cutters around the globe. But it’s not just social networks looking to capitalize on the popularity of streaming. Comcast now allows its X1 customers to stream Netflix seamlessly from their service.
As you can see, things in media are, for lack of better words, complicated. Unpacking who watches what and where is becoming increasingly difficult. So, ThinkNow Research wanted to get back to basics and just ask people how they consume media. In our recent study, ThinkNow Media™, we look at a nationally representative sample of U.S. Hispanics, African-Americans, Asians and non-Hispanic whites to see if there were any major differences in usage across the major media modes.
The findings of the study are depicted in our 2017 report, now available for download at no cost to you.
DESIGN:RETAIL FORUM: In-Store Technology As Retailtainment: Bright Shiny Obje...Deborah Weinswig
Retailers have invested in a variety of digital store technologies ranging from interactive displays and virtual dressing rooms to in-store customization and smart shelves. As consumers increasingly turn to e-commerce, retailers must create a unique in-store experience to maintain footfall. This presentation will address the following questions: What will be the overall potential impact of implementing these technologies? What are the challenges of implementing such technologies? And what is the impact on customer experiences in both the short and long term?
We are in the eye of a hurricane in global trade, unlike anything anyone has seen in recent history. Andy Grove calls this time a strategic inflection point, “a time in the life of a business [or country] when its fundamentals are about to change. That change can mean an opportunity to rise to new heights. But it may just as likely signal the beginning of the end,” (Grove, Only the Paranoid Survive). Our rules of thumb and assumptions are no longer valid, and countries we hadn’t considered to be competitors in the past are emerging ahead of the US. Listen and learn as Professor Doggett examines recent global trends and zeroes in on the future global economy as impacted by recent Chinese economic growth.
As a film director, I have always been awestruck by the magic of animation. Animation, a medium once considered solely for the amusement of children, has undergone a significant transformation over the years. Its evolution from a rudimentary form of entertainment to a sophisticated form of storytelling has stirred my creativity and expanded my vision, offering limitless possibilities in the realm of cinematic storytelling.
Are the X-Men Marvel or DC An In-Depth Exploration.pdfXtreame HDTV
The world of comic books is vast and filled with iconic characters, gripping storylines, and legendary rivalries. Among the most famous groups of superheroes are the X-Men. Created in the early 1960s, the X-Men have become a cultural phenomenon, featuring in comics, animated series, and blockbuster movies. A common question among newcomers to the comic book world is: Are the X-Men Marvel or DC? This article delves into the history, creators, and significant moments of the X-Men to provide a comprehensive answer.
From Slave to Scourge: The Existential Choice of Django Unchained. The Philos...Rodney Thomas Jr
#SSAPhilosophy #DjangoUnchained #DjangoFreeman #ExistentialPhilosophy #Freedom #Identity #Justice #Courage #Rebellion #Transformation
Welcome to SSA Philosophy, your ultimate destination for diving deep into the profound philosophies of iconic characters from video games, movies, and TV shows. In this episode, we explore the powerful journey and existential philosophy of Django Freeman from Quentin Tarantino’s masterful film, "Django Unchained," in our video titled, "From Slave to Scourge: The Existential Choice of Django Unchained. The Philosophy of Django Freeman!"
From Slave to Scourge: The Existential Choice of Django Unchained – The Philosophy of Django Freeman!
Join me as we delve into the existential philosophy of Django Freeman, uncovering the profound lessons and timeless wisdom his character offers. Through his story, we find inspiration in the power of choice, the quest for justice, and the courage to defy oppression. Django Freeman’s philosophy is a testament to the human spirit’s unyielding drive for freedom and justice.
Don’t forget to like, comment, and subscribe to SSA Philosophy for more in-depth explorations of the philosophies behind your favorite characters. Hit the notification bell to stay updated on our latest videos. Let’s discover the principles that shape these icons and the profound lessons they offer.
Django Freeman’s story is one of the most compelling narratives of transformation and empowerment in cinema. A former slave turned relentless bounty hunter, Django’s journey is not just a physical liberation but an existential quest for identity, justice, and retribution. This video delves into the core philosophical elements that define Django’s character and the profound choices he makes throughout his journey.
Link to video: https://youtu.be/GszqrXk38qk
Tom Selleck Net Worth: A Comprehensive Analysisgreendigital
Over several decades, Tom Selleck, a name synonymous with charisma. From his iconic role as Thomas Magnum in the television series "Magnum, P.I." to his enduring presence in "Blue Bloods," Selleck has captivated audiences with his versatility and charm. As a result, "Tom Selleck net worth" has become a topic of great interest among fans. and financial enthusiasts alike. This article delves deep into Tom Selleck's wealth, exploring his career, assets, endorsements. and business ventures that contribute to his impressive economic standing.
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Early Life and Career Beginnings
The Foundation of Tom Selleck's Wealth
Born on January 29, 1945, in Detroit, Michigan, Tom Selleck grew up in Sherman Oaks, California. His journey towards building a large net worth began with humble origins. , Selleck pursued a business administration degree at the University of Southern California (USC) on a basketball scholarship. But, his interest shifted towards acting. leading him to study at the Hills Playhouse under Milton Katselas.
Minor roles in television and films marked Selleck's early career. He appeared in commercials and took on small parts in T.V. series such as "The Dating Game" and "Lancer." These initial steps, although modest. laid the groundwork for his future success and the growth of Tom Selleck net worth. Breakthrough with "Magnum, P.I."
The Role that Defined Tom Selleck's Career
Tom Selleck's breakthrough came with the role of Thomas Magnum in the CBS television series "Magnum, P.I." (1980-1988). This role made him a household name and boosted his net worth. The series' popularity resulted in Selleck earning large salaries. leading to financial stability and increased recognition in Hollywood.
"Magnum P.I." garnered high ratings and critical acclaim during its run. Selleck's portrayal of the charming and resourceful private investigator resonated with audiences. making him one of the most beloved television actors of the 1980s. The success of "Magnum P.I." played a pivotal role in shaping Tom Selleck net worth, establishing him as a major star.
Film Career and Diversification
Expanding Tom Selleck's Financial Portfolio
While "Magnum, P.I." was a cornerstone of Selleck's career, he did not limit himself to television. He ventured into films, further enhancing Tom Selleck net worth. His filmography includes notable movies such as "Three Men and a Baby" (1987). which became the highest-grossing film of the year, and its sequel, "Three Men and a Little Lady" (1990). These box office successes contributed to his wealth.
Selleck's versatility allowed him to transition between genres. from comedies like "Mr. Baseball" (1992) to westerns such as "Quigley Down Under" (1990). This diversification showcased his acting range. and provided many income streams, reinforcing Tom Selleck net worth.
Television Resurgence with "Blue Bloods"
Sustaining Wealth through Consistent Success
In 2010, Tom Selleck began starring as Frank Reagan i
Scandal! Teasers June 2024 on etv Forum.co.zaIsaac More
Monday, 3 June 2024
Episode 47
A friend is compelled to expose a manipulative scheme to prevent another from making a grave mistake. In a frantic bid to save Jojo, Phakamile agrees to a meeting that unbeknownst to her, will seal her fate.
Tuesday, 4 June 2024
Episode 48
A mother, with her son's best interests at heart, finds him unready to heed her advice. Motshabi finds herself in an unmanageable situation, sinking fast like in quicksand.
Wednesday, 5 June 2024
Episode 49
A woman fabricates a diabolical lie to cover up an indiscretion. Overwhelmed by guilt, she makes a spontaneous confession that could be devastating to another heart.
Thursday, 6 June 2024
Episode 50
Linda unwittingly discloses damning information. Nhlamulo and Vuvu try to guide their friend towards the right decision.
Friday, 7 June 2024
Episode 51
Jojo's life continues to spiral out of control. Dintle weaves a web of lies to conceal that she is not as successful as everyone believes.
Monday, 10 June 2024
Episode 52
A heated confrontation between lovers leads to a devastating admission of guilt. Dintle's desperation takes a new turn, leaving her with dwindling options.
Tuesday, 11 June 2024
Episode 53
Unable to resort to violence, Taps issues a verbal threat, leaving Mdala unsettled. A sister must explain her life choices to regain her brother's trust.
Wednesday, 12 June 2024
Episode 54
Winnie makes a very troubling discovery. Taps follows through on his threat, leaving a woman reeling. Layla, oblivious to the truth, offers an incentive.
Thursday, 13 June 2024
Episode 55
A nosy relative arrives just in time to thwart a man's fatal decision. Dintle manipulates Khanyi to tug at Mo's heartstrings and get what she wants.
Friday, 14 June 2024
Episode 56
Tlhogi is shocked by Mdala's reaction following the revelation of their indiscretion. Jojo is in disbelief when the punishment for his crime is revealed.
Monday, 17 June 2024
Episode 57
A woman reprimands another to stay in her lane, leading to a damning revelation. A man decides to leave his broken life behind.
Tuesday, 18 June 2024
Episode 58
Nhlamulo learns that due to his actions, his worst fears have come true. Caiphus' extravagant promises to suppliers get him into trouble with Ndu.
Wednesday, 19 June 2024
Episode 59
A woman manages to kill two birds with one stone. Business doom looms over Chillax. A sobering incident makes a woman realize how far she's fallen.
Thursday, 20 June 2024
Episode 60
Taps' offer to help Nhlamulo comes with hidden motives. Caiphus' new ideas for Chillax have MaHilda excited. A blast from the past recognizes Dintle, not for her newfound fame.
Friday, 21 June 2024
Episode 61
Taps is hungry for revenge and finds a rope to hang Mdala with. Chillax's new job opportunity elicits mixed reactions from the public. Roommates' initial meeting starts off on the wrong foot.
Monday, 24 June 2024
Episode 62
Taps seizes new information and recruits someone on the inside. Mary's new job
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Monday, June 3, 2024 - Episode 241: Sergeant Rathebe nabs a top scammer in Turfloop. Meikie is furious at her uncle's reaction to the truth about Ntswaki.
Tuesday, June 4, 2024 - Episode 242: Babeile uncovers the truth behind Rathebe’s latest actions. Leeto's announcement shocks his employees, and Ntswaki’s ordeal haunts her family.
Wednesday, June 5, 2024 - Episode 243: Rathebe blocks Babeile from investigating further. Melita warns Eunice to stay clear of Mr. Kgomo.
Thursday, June 6, 2024 - Episode 244: Tbose surrenders to the police while an intruder meddles in his affairs. Rathebe's secret mission faces a setback.
Friday, June 7, 2024 - Episode 245: Rathebe’s antics reach Kganyago. Tbose dodges a bullet, but a nightmare looms. Mr. Kgomo accuses Melita of witchcraft.
Monday, June 10, 2024 - Episode 246: Ntswaki struggles on her first day back at school. Babeile is stunned by Rathebe’s romance with Bullet Mabuza.
Tuesday, June 11, 2024 - Episode 247: An unexpected turn halts Rathebe’s investigation. The press discovers Mr. Kgomo’s affair with a young employee.
Wednesday, June 12, 2024 - Episode 248: Rathebe chases a criminal, resorting to gunfire. Turf High is rife with tension and transfer threats.
Thursday, June 13, 2024 - Episode 249: Rathebe traps Kganyago. John warns Toby to stop harassing Ntswaki.
Friday, June 14, 2024 - Episode 250: Babeile is cleared to investigate Rathebe. Melita gains Mr. Kgomo’s trust, and Jacobeth devises a financial solution.
Monday, June 17, 2024 - Episode 251: Rathebe feels the pressure as Babeile closes in. Mr. Kgomo and Eunice clash. Jacobeth risks her safety in pursuit of Kganyago.
Tuesday, June 18, 2024 - Episode 252: Bullet Mabuza retaliates against Jacobeth. Pitsi inadvertently reveals his parents’ plans. Nkosi is shocked by Khwezi’s decision on LJ’s future.
Wednesday, June 19, 2024 - Episode 253: Jacobeth is ensnared in deceit. Evelyn is stressed over Toby’s case, and Letetswe reveals shocking academic results.
Thursday, June 20, 2024 - Episode 254: Elizabeth learns Jacobeth is in Mpumalanga. Kganyago's past is exposed, and Lehasa discovers his son is in KZN.
Friday, June 21, 2024 - Episode 255: Elizabeth confirms Jacobeth’s dubious activities in Mpumalanga. Rathebe lies about her relationship with Bullet, and Jacobeth faces theft accusations.
Monday, June 24, 2024 - Episode 256: Rathebe spies on Kganyago. Lehasa plans to retrieve his son from KZN, fearing what awaits.
Tuesday, June 25, 2024 - Episode 257: MaNtuli fears for Kwaito’s safety in Mpumalanga. Mr. Kgomo and Melita reconcile.
Wednesday, June 26, 2024 - Episode 258: Kganyago makes a bold escape. Elizabeth receives a shocking message from Kwaito. Mrs. Khoza defends her husband against scam accusations.
Thursday, June 27, 2024 - Episode 259: Babeile's skillful arrest changes the game. Tbose and Kwaito face a hostage crisis.
Friday, June 28, 2024 - Episode 260: Two women face the reality of being scammed. Turf is rocked by breaking
In the vast landscape of cinema, stories have been told, retold, and reimagined in countless ways. At the heart of this narrative evolution lies the concept of a "remake". A successful remake allows us to revisit cherished tales through a fresh lens, often reflecting a different era's perspective or harnessing the power of advanced technology. Yet, the question remains, what makes a remake successful? Today, we will delve deeper into this subject, identifying the key ingredients that contribute to the success of a remake.
From the Editor's Desk: 115th Father's day Celebration - When we see Father's day in Hindu context, Nanda Baba is the most vivid figure which comes to the mind. Nanda Baba who was the foster father of Lord Krishna is known to provide love, care and affection to Lord Krishna and Balarama along with his wife Yashoda; Letter’s to the Editor: Mother's Day - Mother is a precious life for their children. Mother is life breath for her children. Mother's lap is the world happiness whose debt can never be paid.
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Panchayat Season 3 - Official Trailer.pdfSuleman Rana
The dearest series "Panchayat" is set to make a victorious return with its third season, and the fervor is discernible. The authority trailer, delivered on May 28, guarantees one more enamoring venture through the country heartland of India.
Jitendra Kumar keeps on sparkling as Abhishek Tripathi, the city-reared engineer who ends up functioning as the secretary of the Panchayat office in the curious town of Phulera. His nuanced depiction of a young fellow exploring the difficulties of country life while endeavoring to adjust to his new environmental factors has earned far and wide recognition.
Neena Gupta and Raghubir Yadav return as Manju Devi and Brij Bhushan Dubey, separately. Their dynamic science and immaculate acting rejuvenate the hardships of town administration. Gupta's depiction of the town Pradhan with an ever-evolving outlook, matched with Yadav's carefully prepared exhibition, adds profundity and credibility to the story.
New Difficulties and Experiences
The trailer indicates new difficulties anticipating the characters, as Abhishek keeps on wrestling with his part in the town and his yearnings for a superior future. The series has reliably offset humor with social editorial, and Season 3 looks ready to dig much more profound into the intricacies of rustic organization and self-awareness.
Watchers can hope to see a greater amount of the enchanting and particular residents who have become fan top picks. Their connections and the one of a kind cut of-life situations give a reviving and interesting portrayal of provincial India, featuring the two its appeal and its difficulties.
A Mix of Humor and Heart
One of the signs of "Panchayat" is its capacity to mix humor with sincere narrating. The trailer features minutes that guarantee to convey giggles, as well as scenes that pull at the heartstrings. This equilibrium has been a critical calculate the show's prosperity, resounding with crowds across different socioeconomics.
Creation Greatness
The creation quality remaining parts first rate, with the beautiful setting of Phulera town filling in as a scenery that upgrades the narrating. The meticulousness in portraying provincial life, joined with sharp composition and solid exhibitions, guarantees that "Panchayat" keeps on hanging out in the packed web series scene.
Expectation and Delivery
As the delivery date draws near, expectation for "Panchayat" Season 3 is at a record-breaking high. The authority trailer has previously created critical buzz, with fans enthusiastically anticipating the continuation of Abhishek Tripathi's excursion and the new undertakings that lie ahead in Phulera.
All in all, the authority trailer for "Panchayat" Season 3 recommends that watchers are in for another drawing in and engaging ride. Yet again with its charming characters, convincing story, and ideal mix of humor and show, the new season is set to enamor crowds. Write in your schedules and prepare to get back to the endearing universe of "Panchayat."
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3. 2016
3
Dear Fellow Movie Fans,
2016 was another strong year for the global box office.
Audiences around the world flocked to action-packed thrillers like Captain America: Civil War,
Ghostbusters, and Star Trek Beyond; they traveled back into the magical world of Harry Potter with
Fantastic Beasts and Where to Find Them; and rejoined some of the most beloved animated
characters in Finding Dory.
This year, films like Hidden Figures and Jackie introduced us to heroes – and heroines – in new,
untold ways. Moonlight and Loving, among others, presented challenging questions about our society
and history, while the animated antics of Zootopia and The Secret Life of Pets had families laughing
out loud.
The global box office receipts of these films and the hundreds more released in 2016 reached $38.6
billion, an increase of one percent from the previous year. In the United States and Canada, the box
office rose two percent to hit $11.4 billion.
Even with an incredible variety of viewing choices available to audiences, cinema remains the premier
way to experience the magic of our movies. And the good news is, there are positive signs for greater
growth in the future.
In 2016, more young people and diverse populations went to the movies. Audiences between the ages
of 18 and 24 attended an average of 6.5 movies over the course of the year – more than any other
age group. Per capita attendance also increased among African American and Asian/Other audiences.
Today, there are more stories and more storytelling mediums than ever before. Producers and
filmmakers are continually finding new talent and technologies to weave these tales. At the same
time, theater owners are investing in the best ways to bring movies to life with better sound, screens,
and special effects. This collaboration – and relentless innovation – among production, distribution,
and exhibition is an important reason the global film industry remains strong.
As the 2016 Theatrical Market Statistics Report confirms, yet again, movies continue to play a vital
role in our lives and our cultures. Around the world, storytelling – and the movie-going experience
that brings great stories to life – is very much alive and well.
Christopher J. Dodd
Chairman and Chief Executive Officer
Motion Picture Association of America, Inc.
CHAIRMAN’S LETTER
4. 2016
4
Global
In 2016, the global box office for all films released in each country around the world reached $38.6 billion, up
one percent from 2015. The U.S./Canada box office ($11.4 billion) grew two percent, while the international
box office ($27.2 billion) in U.S. dollars held steady compared to 2015, despite the increased strength of the
U.S. dollar and slowed growth in China.
Cinema screens increased by eight percent worldwide in 2016 to nearly 164,000, due in large part to continued
double digit growth in the Asia Pacific region (+18%). The number of digital screens (+17%) and Premium
Large Format screens (+11%) also saw double digit growth globally. Today, 95 percent of the world’s cinema
screens are digital.
U.S./Canada
In 2016, U.S./Canada box office was $11.4 billion, up two percent from $11.1 billion in 2015. Admissions, or
tickets sold (1.32 billion), held steady compared to 2015.
Moviegoer Trends
More than two-thirds (71%) of the U.S./Canada population – or 246 million people – went to the cinema at
least once in 2016, a two percent increase from 2015. Frequent moviegoers – individuals who go to the cinema
once a month or more – continue to drive the movie industry, accounting for 48 percent of all tickets sold in
the United States and Canada.
The number of frequent moviegoers increased in 2016. However, the number of tickets purchased by frequent
moviegoers decreased. This was offset by an increase in the tickets purchased by occasional moviegoers
(moviegoers who attended less than once a month).
Demographics
In 2016, 18-24 year olds went to the movies an average of 6.5 times over the year, up 0.6 from 2015. This
was the largest increase of any age group. Per capita attendance was next highest for 12-17 year olds (6.1).
Per capita attendance also increased for 25-39 year olds and 50-59 year olds compared to the previous year.
Per capita attendance increased for African Americans and Asians/Other Ethnicities compared to 2015. In 2016,
Asians/Other Ethnicities reported the highest annual attendance per capita, going to the cinema an average of
6.1 times in the year.
Three of the top five grossing films in 2016 attracted majority female audiences. Finding Dory drew the largest
proportion of females, with 55 percent of its box office coming from women. The Jungle Book drew the most
ethnically diverse audience, followed by Finding Dory and Captain America: Civil War.
Technology
Frequent moviegoers tend to own more key technology products, such as smartphones and tablets, compared
to the general population of adults 18 years and older. More than three quarters of all frequent moviegoers
(79%) own at least four different types of key technology products, compared to 60 percent of the total adult
population.
Films Released
Total films released (718) increased one percent from 2015. Films released by MPAA members (139) were
down five percent in 2016 compared to 2015, which was a five-year high. Non-MPAA affiliated independents
continued to release the most films domestically (579) and were up three percent from 2015.
THEATRICAL STATISTICS SUMMARY
5. Rogue One - Courtesy Walt Disney Studios/Lucasfilm, Everest - Courtesy Universal Pictures
6. 2016
6
Global Box Office
In 2016, the global box office for all films released in each country around the world1 reached $38.6 billion, up one
percent over 2015. U.S./Canada box office ($11.4 billion) grew two percent, while the international box office in U.S.
dollars ($27.2 billion) held steady compared to 2015. International box office accounted for 71 percent of total box
office in 2016, equivalent to 2015.
The international box office in U.S. dollars is up 14 percent compared to five years ago. The global box office is up 11
percent in the same time period.
2012 2013 2014 2015 2016
% Change2
16 vs. 15
% Change2
16 vs. 12
U.S./Canada3 $10.8 $10.9 $10.4 $11.1 $11.4 2% 5%
International4 $23.9 $25.0 $26.0 $27.3 $27.2 0% 14%
Total $34.7 $35.9 $36.4 $38.4 $38.6 1% 11%
Global Box Office – All Films (US$ Billions)
1 Values in the report include all films released, regardless of distributor or country of origin, except where specified as a
subset.
2 Percentage value change is calculated using full table values before rounding. Note that in 2016, the table value before
rounding was $27.261 billion ($27.3B) but is rounded down in order to sum to the rounded global total.
3 Source: comScore – Box Office Essentials. Data is based on calendar year (January 1-December 31).
4 MPAA calculates international box office country-by-country based on a variety of primary and secondary data sources.
10.8 10.9 10.4 11.1 11.4
23.9 25.0 26.0
27.3 27.2
$0
$5
$10
$15
$20
$25
$30
$35
$40
$45
2012 2013 2014 2015 2016
International U.S./Canada
$38.6
$35.9
$34.7
$38.4
$36.4
(69%)
(70%)
(71%)(71%)
(72%)
7. 7
In 2016, the box office in the Asia Pacific region ($14.9 billion) increased five percent compared to 2015. Increases in
Japan (+27%) and India (+28%) were the primary drivers of growth. After over a decade of consecutive gains, in
2016, the Chinese box office decreased one percent in U.S. dollars from 2015, while increasing slightly (+4%) in local
currency.
The Europe, Middle East & Africa (EMEA) box office decreased two percent in U.S. dollars when comparing 2016 to
2015. This was driven by decreases in the U.K. (-10% decline in U.S. dollars), where the pound depreciated 12
percent against the U.S. dollar, and Germany (-13%). However, during the same period, other markets such as
France (+5%) and Italy (+6%) experienced growth.
The Latin America box office decreased 18 percent in U.S. dollars when comparing 2016 to 2015, despite many
markets in the region increasing in local currency. Brazil’s box office was an exception, increasing five percent in U.S.
dollars from 2015. However, the depreciation of several currencies against the U.S. dollar in 2016, including
Mexico (-15%), Argentina (-37%), and Venezuela (-31%), contributed to the overall decline in regional box office.
2012 2013 2014 2015 2016
% Change6
16 vs. 15
% Change6
16 vs. 12
Europe, Middle East & Africa $10.7 $10.9 $10.6 $9.7 $9.5 -2% -11%
Asia Pacific $10.4 $11.1 $12.4 $14.2 $14.9 5% 44%
Latin America $2.8 $3.0 $3.0 $3.4 $2.8 -18% 2%
Total $23.9 $25.0 $26.0 $27.3 $27.2 0% 14%
1. China $6.6 11. Italy $0.7
2. Japan $2.0 12. Russia $0.7
3. India $1.9 13. Spain $0.7
4. U.K. $1.7 14. Netherlands $0.3
5. France $1.6 15. Indonesia $0.3
6. South Korea $1.5 16. Taiwan $0.3
7. Germany $1.1 17. Argentina $0.3
8. Australia $0.9 18. Hong Kong $0.3
9. Mexico $0.8 19. Poland $0.2
10. Brazil $0.7 20. Turkey $0.2
International Box Office by Region – All Films (US$ Billions)5
5 Box office data is in U.S. dollars for analytical and comparative purposes. Local currency box office trends may differ due to
exchange rate fluctuations.
6 Percentage value change is calculated using table values before rounding.
$10.7 $10.9 $10.6
$9.7 $9.5
$10.4
$11.1
$12.4
$14.2 $14.9
$2.8 $3.0 $3.0 $3.4
$2.8
$0
$2
$4
$6
$8
$10
$12
$14
$16
2012 2013 2014 2015 2016
EMEA Asia Pacific Latin America
2016 Top 20 International Box Office Markets – All Films (US$ Billions)
Source: IHS Markit, local sources
8. 2016
8
Global Cinema Screens
2016 Cinema Screens by Format and Region7
Source: IHS Markit
Total cinema screens increased eight percent worldwide in 2016 to nearly 164,000, due in large part to continued
double digit growth in the Asia Pacific region (+18%).
Global digital cinema continued to grow (+10%), although at a slower rate than past years given limits to market
penetration. Today, 95 percent of the world’s cinema screens are digital, up two percentage points from 2015 (93%).
Among individual regions, Asia Pacific has the lowest percentage of digital screens at 90 percent.
Digital Screens
Source: IHS Markit
7 2016 total screens figures are estimates as of March 2017. Screen figures for previous years have been revised by source.
35,975 39,757 41,518 42,552 42,659
53,367
71,572
85,948
98,498
112,410
0
20,000
40,000
60,000
80,000
100,000
120,000
140,000
160,000
180,000
2012 2013 2014 2015 2016
International U.S./Canada
89,342
155,069
141,050
127,466
111,329
(70%)
(67%)
(64%)
(60%)
(72%)
1,481 6,506
25,914 22,081 12,905
6,993
16,745
18,278
46,949
5,204
0
10,000
20,000
30,000
40,000
50,000
60,000
70,000
U.S./Canada EMEA Asia Pacific Latin America
Analog Digital Non 3D Digital 3D
43,531 41,840
66,360
12,197
872
9. 9
2012 2013 2014 2015 2016
2016
% of Digital
U.S./Canada 14,734 15,782 16,143 16,441 16,745 39%
EMEA 13,964 15,813 16,880 17,580 18,278 45%
Asia Pacific 14,219 17,726 27,472 35,807 46,949 78%
Latin America 2,629 3,748 4,294 4,733 5,204 43%
Total 45,546 53,069 64,789 74,561 87,176 56%
% Change vs. Previous Year 25% 17% 22% 15% 17% --
Across all regions, the number of digital 3D screens continued to grow in 2016 – and at a faster pace (17%) than
2015 (15%). The global portion of 3D digital screens increased three percentage points to 56 percent of all digital
screens in 2016. Asia Pacific (78%) had the highest 3D digital proportion of total digital screens.
Worldwide Digital 3D Screens
Source: IHS Markit
Worldwide PLF Screens9
Source: IHS Markit
2014 2015 2016
2016
% of Total Screens
U.S./Canada 763 889 945 2%
EMEA 191 248 295 1%
Asia Pacific 558 763 859 1%
Latin America 154 205 231 2%
Total 1,666 2,105 2,330 1%
% Change vs. Previous Year -- 26% 11% --
Premium Large Format (PLF) screens are growing in all regions. According to IHS Markit, PLF is currently one of the
most active areas in cinema exhibition and has significant potential for growth over the next several years.8
U.S./Canada (945) had the largest number of PLF screens in 2016, followed by Asia Pacific (859). In 2016, the total
number of PLF screens increased by 11 percent compared to 2015. These totals include both exhibitor-developed and
global technology brands, such as IMAX.
8 Jones, Charlotte, The Rise of Premium Large Format: Investing in the next generation of cinema exhibition, Film
Journal International, 10/28/2015.
9 2016 PLF screens figures are estimates as of March 2017. Screen figures for previous years have been revised by
source.
10. Magnificent 7 - Courtesy Sony Pictures, Fantastic Beasts and Where to Find Them - Courtesy Warner Bros.
11. 2016
11
U.S./Canada Box Office & Admissions
In 2016, U.S./Canada box office was $11.4 billion, up two percent from $11.1 billion in 2015.10 The 3D box office
($1.6 billion), down eight percent from 2015, comprised 14 percent of the total box office.
Admissions, or tickets sold (1.32 billion), held steady compared to 2015.
U.S./Canada Box Office (US$ Billions)
Source: comScore – Box Office Essentials (Total), MPAA (3D)
2007 2008 2009 2010 2011 2012 2013 2014 2015 2016
% Chg.
16 vs. 15
U.S./Can. Box Office (US$B) $9.6 $9.6 $10.6 $10.6 $10.2 $10.8 $10.9 $10.4 $11.1 $11.4 2%
3D Box Office11 $0.1 $0.2 $1.1 $2.2 $1.8 $1.8 $1.8 $1.4 $1.7 $1.6 -8%
10 Percentage change is calculated using table values before rounding.
11 3D box office figures include only box office earned from 3D showings, not total box office for films with a 3D release.
12Admissions calculated using comScore – Box Office Essentials calendar year box office data and National Association of
Theatre Owners (NATO) average annual ticket price (see page 12).
13Admissions per capita calculated using aggregated U.S. Census Bureau and Statistics Canada data for population aged 2+.
U.S./Canada Admissions12
2007 2008 2009 2010 2011 2012 2013 2014 2015 2016
% Chg.
16 vs. 15
U.S./Can. Admissions (Billions) 1.40 1.34 1.42 1.34 1.28 1.36 1.34 1.27 1.32 1.32 0%
U.S./Can. Admissions per capita13 4.4 4.2 4.3 4.1 3.9 4.1 4.0 3.7 3.8 3.8 -1%
1.40 1.34
1.42
1.34 1.28
1.36 1.34
1.27 1.32 1.32
0.0
1.0
2.0
3.0
4.0
5.0
6.0
0.00
0.20
0.40
0.60
0.80
1.00
1.20
1.40
1.60
1.80
2007 2008 2009 2010 2011 2012 2013 2014 2015 2016
Admissionspercapita
Admissions(Billions)
Admissions (billions) Admissions per capita
$0
$2
$4
$6
$8
$10
$12
2007 2008 2009 2010 2011 2012 2013 2014 2015 2016
3D Box Office Non-3D Box Office
$9.6 $9.6
$10.6
$10.2
$10.8 $10.9
$10.4$10.6
10% 21%1% 18% 17%2% 16%
$11.1 $11.4
14%15%14%
12. 12
2007 2008 2009 2010 2011 2012 2013 2014 2015 2016
Average Ticket Price $6.88 $7.18 $7.50 $7.89 $7.93 $7.96 $8.13 $8.17 $8.43 $8.65
% Change vs. Previous Year 5% 4% 4% 5% 1% 0% 2% 0% 3% 3%
CPI % Change vs. Previous Year 3% 4% 0% 2% 3% 2% 2% 2% 0% 1%
2016 Attendance (Millions)14
Average Cinema Ticket Price (US$)
Sources: National Association of Theatre Owners (Ticket price), Bureau of Labor Statistics (Consumer Price Index)
Movie theaters continue to draw more people than all theme parks and major U.S. sports combined.
A movie still provides the most affordable entertainment option, costing under $35 for a family of four. The average
cinema ticket price nationwide increased by 22 cents (3%) in 2016, compared to the one percent increase in inflation
as measured by the Consumer Price Index (CPI).
2016 Average Ticket Price for a Family of Four (US$)14
Sources: NATO, Team Marketing, International Theme Park Services
14 NHL data is for the last available season (2014-2015).
MLB, 73.2
NBA, 22.0
NHL, 21.6
NFL, 17.0
1,315
410
134
0
200
400
600
800
1,000
1,200
1,400
Cinemas Theme Parks Sports
$371.92
$248.72
$233.40
$223.52
$124.00
$34.60
$0 $50 $100 $150 $200 $250 $300 $350 $400
NFL
NHL
Theme Parks
NBA
MLB
Cinemas
13. 2016
13
Non-
moviegoers,
29%
Infrequent, 9%
Occasional,
51%
Frequent, 11%
Attendance Demographics
1.32 billion
Admissions:
2016 tickets sold
More than two-thirds (71%) of the U.S./Canada population aged two or older, or 246 million people, went to a movie
at the cinema at least once in 2016 (“moviegoer”), a two percent increase in the number of moviegoers from 2015.
The typical moviegoer bought 5.3 tickets over the course of the year, down from 5.6 tickets in 2015.
2016 Moviegoer Share of Population and Tickets Sold
2016 Demographic Summary15
15 MPAA’s analysis of attendance demographics is based on survey research and attendance projections by ORC International.
See Appendix: Methodology (page 27) for details. Note that surveying is conducted in the U.S. only, so the results assume
the demographic composition of the U.S./Canada combined population is similar to what was observed for the U.S. only.
U.S./Canada Population
ages 2+ (346.4M)
U.S./Canada
Moviegoers
246 million
Annual Tickets
per Moviegoer
5.3
U.S./Canada
Admissions
Frequency definitions:
Frequent: Once a month or more
Occasional: Less than once a month
Infrequent: Once in 12 months
Eleven percent of the U.S./Canada population are frequent moviegoers, who attend the cinema once a month or
more. These individuals are responsible for 48 percent of all tickets sold. The number of frequent moviegoers
increased in 2016, while the number of tickets purchased by frequent moviegoers decreased (21 million). At the same
time, the number of tickets purchased by occasional moviegoers increased, raising the share of tickets purchased by
occasional moviegoers by one percentage point to 50 percent.
U.S./Canada Population
Ages 2+
U.S./Canada
Tickets Sold
Moviegoers
71%
Non-
moviegoers
29%
Infrequent, 2%
Occasional,
50%Frequent, 48%
14. 2016
14
African
Americans Caucasians Hispanics Asian/Other
% of Population: 2016 12% 62% 18% 8%
% of Frequent Moviegoers: 2016 15% 51% 23% 11%
16 The small size of frequent moviegoer subgroups may lead to large fluctuations in annual figures.
17 Prior years’ data may differ slightly from previously published data due to calculation methods and the effects of rounding.
Frequent Moviegoers
In 2016, the total number of frequent moviegoers increased by 2.1 million. The number of frequent moviegoers
increased among all age groups, except 40-49 year olds and 60+ year olds. Individuals 12-17 years old and 18-24
years old continue to be overrepresented among frequent moviegoers relative to their population size.16
Frequent Moviegoers (Millions) by Age17
2-11 12-17 18-24 25-39 40-49 50-59 60+
% of Population 2016 13% 8% 10% 21% 13% 14% 21%
% of Frequent Moviegoers 2016 8% 15% 20% 22% 9% 12% 14%
Frequent Moviegoers (Millions) by Ethnicity17
Hispanics continued to be overrepresented in the population of frequent moviegoers relative to their proportion of the
overall population. In 2016, the number of African American and Asian/Other frequent moviegoers increased
compared to 2015, while the number of Caucasian frequent moviegoers declined.
2.8
6.3
8.7
9.9
5.8
3.3
4.64.3
5.5
7.2
8.2
3.2
4.2
3.8
2.7
5.5
7.0 7.1
5.7
4.2
5.3
2.9
5.3
5.7
7.4
4.5
3.4
5.1
3.1
5.4
7.2
8.0
3.3
4.2
5.1
0.0
2.0
4.0
6.0
8.0
10.0
12.0
2-11 12-17 18-24 25-39 40-49 50-59 60+
2012
2013
2014
2015
2016
4.4
23.2
10.9
3.2
4.3
17.8
11.6
2.7
3.7
21.2
9.6
3.33.8
19.3
7.9
3.2
5.6
18.3
8.3
3.9
0.0
5.0
10.0
15.0
20.0
25.0
African Americans Caucasians Hispanics Asian/Other
2012
2013
2014
2015
2016
15. 2016
15
Demographic Shares of Total
The gender composition of moviegoers (people who went to a movie at the cinema at least once in the year) in 2016
skewed slightly towards women, similar to the composition of the overall population. As in previous years, tickets sold
continue to be split evenly among genders.
2016 Gender Share of Total Population, Moviegoers, and Tickets Sold
2016 Age Group Share of Total Population, Moviegoers, and Tickets Sold
2016 Ethnicity Share of Total Population, Moviegoers, and Tickets Sold
2016 Moviegoers: 246 million | 2016 Admissions: 1.32 billion
In 2016, the 18-24 age group was the most overrepresented age group in terms of tickets sold, accounting for 10
percent of the population and 16 percent of tickets sold in 2016. To a lesser extent, the 12-17 and 25-39 age groups
are also overrepresented for tickets sold (13% and 24%) relative to their share of the population (8% and 21%).
Although Caucasians make up the majority of the population (62%) and moviegoers (59%), they represented a
smaller share of 2016 ticket sales (51%), similar to previous years. In 2016, the Asian/Other category
overrepresented the most of any group in share of movie tickets purchased (14%) relative to their share of the
population (8%).
50%
52%
51%
50%
48%
49%
0% 25% 50% 75% 100%
Tickets sold
Moviegoers
Population
Female Male
11%
14%
13%
13%
10%
8%
16%
12%
10%
24%
23%
21%
11%
13%
13%
12%
13%
14%
13%
15%
21%
0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100%
Tickets sold
Moviegoers
Population
2-11 12-17 18-24 25-39 40-49 50-59 60+
51%
59%
62%
21%
20%
18%
14%
12%
12%
14%
9%
8%
0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100%
Tickets sold
Moviegoers
Population
Caucasian Hispanic African American Asian/Other
16. 2016
16
Trends in Per Capita Attendance
In 2016, per capita annual movie attendance (tickets sold per person) decreased for both males (3.8) and females
(3.7).
Per Capita Attendance by Gender
Per Capita Attendance by Age
Per Capita Attendance by Ethnicity
In 2016, 18-24 year olds had the highest per capita attendance (6.5), followed by 12-17 year olds (6.1). 18-24 year
olds had the largest increase in per capita attendance, up 0.6 from 2015. Per capita attendance also increased for 25-
39 year olds and 50-59 year olds compared to the previous year.
Per capita attendance increased for African Americans and the Asian/Other category compared to 2015. The
Asian/Other category reported the highest annual attendance per capita in 2016, going to the movies an average of
6.1 times in the year.
4.2 4.04.1 3.93.8 3.73.9 3.83.8 3.7
0
2
4
6
8
10
Male Female
2012
2013
2014
2015
2016
3.3
6.2
7.8
5.0
3.7
2.6 2.4
3.8
6.5
6.9
4.6
3.4
3…
2.4
3.3
6.4 6.2
3.7 3.6
3.1
2.4
3.3
7.3
5.9
4.2
3.6
2.9 2.5
3.3
6.1
6.5
4.3
3.3 3.2
2.3
0
2
4
6
8
10
2-11 12-17 18-24 25-39 40-49 50-59 60+
2012
2013
2014
2015
2016
3.6 3.8
6.4
4.0
3.4
4.2
6.0
4.3
3.2
3.6
5.1 5.2
3.4 3.5
5.2 4.9
3.2
4.2
4.6
6.1
0
2
4
6
8
10
Caucasian African American Hispanic Asian/Other
2012
2013
2014
2015
2016
17. 2016
17
Trends in Share of Moviegoers
Trends in Ethnicity Share of Moviegoers
Overall, age group shares of moviegoers have been relatively consistent since 2012. Accounting for 23 percent of
moviegoers, 25-39 year olds continue to constitute the largest share of moviegoers in 2016.
Trends in Age Group Share of Moviegoers
In 2016, the shares of moviegoers by ethnicity were similar to previous years.
Trends in Gender Share of Moviegoers
Similar to the overall population, females have comprised 51 percent to 52 percent of moviegoers (people who went
to a movie at the cinema at least once in the year) consistently since 2012. This trend remains unchanged in 2016.
2016 Moviegoers: 246 million | 2016 Admissions: 1.32 billion
0%
10%
20%
30%
40%
50%
60%
2012 2013 2014 2015 2016
Female
Male
0%
5%
10%
15%
20%
25%
2-11 12-17 18-24 25-39 40-49 50-59 60+
2012
2013
2014
2015
2016
0%
10%
20%
30%
40%
50%
60%
70%
2012 2013 2014 2015 2016
African Americans
Caucasians
Hispanics
Asian/Other
18. 2016
18
Trends in Share of Tickets Sold
Trends in Age Group Share of Tickets Sold
Trends in Ethnicity Share of Tickets Sold
In 2016, the share of tickets sold to the 18-24 (16%), 25-39 (23%), and 50-59 (12%) age groups all increased
compared to 2015.
In 2016, the share of tickets sold to African Americans (14%) and the Asian/Other (14%) category each increased by
three percentage points from the previous year.
Since 2012, tickets sold at cinemas have been evenly split by gender.
2016 Moviegoers: 246 million | 2016 Admissions: 1.32 billion
0%
10%
20%
30%
40%
50%
60%
2012 2013 2014 2015 2016
Female
Male
Trends in Gender Share of Tickets Sold
0%
5%
10%
15%
20%
25%
30%
2-11 12-17 18-24 25-39 40-49 50-59 60+
2012
2013
2014
2015
2016
0%
10%
20%
30%
40%
50%
60%
2012 2013 2014 2015 2016
African Americans
Caucasians
Hispanics
Asian/Other
19. 2016
19
0%
20%
40%
60%
80%
100%
2-11 12-17 18-24 25-39 40-49 50-59 60+
3D/Large Screen Format Movie Attendance
2016 Moviegoers as a Percentage
of Population By Age
More than a third (36%) of the general population attended a 3D or large screen format movie in 201618, compared to
71 percent of the population who viewed any movie. Children (2-17) were more likely to attend a 3D or large screen
format movie in 2016 than their adult counterparts.
2016 Average 3D/Large Screen Format Movies Viewed Per Moviegoer By Age
12-17 year olds viewed an average of 4.1 3D and large screen movies in 2016, more than any other age group. 18-
24 year olds followed at an average of 3.9.
18 In 2015, our methodology changed on 3D measurement to include large screen format movies, as a result comparisons to years prior
to 2015 are not available.
0%
20%
40%
60%
80%
100%
2-11 12-17 18-24 25-39 40-49 50-59 60+
2016
2015
2016 3D/Large Screen Format
Moviegoers as a Percentage of
Population By Age
2.5
5.2
3.1 3.0
3.6
2.6
2.4
3.2
4.1
3.9
3.2
2.8
3.6
2.6
0.0
1.0
2.0
3.0
4.0
5.0
6.0
2-11 12-17 18-24 25-39 40-49 50-59 60+
2015
2016
% of Population Who
Attended a 3D/Large Screen
Format Movie in 2016
Adults (18+) 33%
Children (2-17) 46%
All Ages 36%
20. 2016
20
Technology & Moviegoers
Types of Key Technology Products Owned19
19 People surveyed may own more than one type of technology product. Because product categories are not mutually exclusive,
percentages will sum to more than 100 percent.
Number of Key Technology Products Owned
Frequent moviegoers tend to own more key technology products (computers, smart phones, disc players, tablets,
video-streaming devices, and video game systems) than the general population of adults 18 years or older. More than
three quarters of all frequent moviegoers (79%) own at least four different types of key technology products,
compared to 60 percent of the total adult population.
Frequent moviegoers also have a significantly higher share of ownership for all key technology products when
compared to the total adult population. Smart phone (88%), video streaming device (65%), and video game system
(59%) ownership is particularly high among frequent moviegoers relative to the total adult population.
5%
2%
1%
8%
5%
4%
11%
8%
5%
15%
14%
9%
20%
21%
25%
21%
25%
29%
19%
23%
25%
0%
5%
10%
15%
20%
25%
30%
35%
Total Adult Population Moviegoers Frequent Moviegoers
None
1
2
3
4
5
6
77%
84%
88%
76%
83%
86%
68%
71%
75%
56%
62% 64%
54%
61%
65%
46%
54%
59%
0%
20%
40%
60%
80%
100%
Total Adult Population Moviegoers Frequent Moviegoers
Smart phone
Computer
Disc player
Tablet
Video streaming
device
Video game
system
21. 2016
21
Films Rated, Released & Produced
Films Released
Sources: comScore – Box Office Essentials (Total), MPAA (Subtotals)
In 2016, the Classification and Ratings Administration (CARA) rated 605 films (including non-theatrical films), down
one percent from 2015. The number of films released in theaters in U.S./Canada (718) increased one percent from
2015 (708) and was up 18 percent from ten years ago.
2007 2008 2009 2010 2011 2012 2013 2014 2015 2016
16 vs.
15
16 vs.
07
Films released22 611 638 557 563 609 678 661 709 708 718 1% 18%
- 3D film releases 6 8 20 26 45 40 45 47 40 52 30% n/a
- Large format releases 11 15 14 16 21 26 32 30 36 42 17% n/a
MPAA member total 189 168 158 141 141 128 114 136 147 139 -5% -26%
- MPAA studios 107 108 111 104 104 94 84 100 100 97 -3% -9%
- MPAA studio
subsidiaries 82 60 47 37 37 34 30 36 47 42 -11% -49%
Non-members 422 470 399 422 468 550 547 573 561 579 3% 37%
Films Rated by CARA and Films Released Theatrically
Sources: CARA (Film ratings), comScore (Films released)
20 Note that films may be rated or re-rated months or even years after production. Includes non-theatrical films.
21 Member studios include: Walt Disney Studios Motion Pictures, Paramount Pictures Corporation, Sony Pictures
Entertainment, Inc. Twentieth Century Fox Film Corporation, Universal City Studios LLC, and Warner Bros. Entertainment
Inc.
22 Source: comScore – Box Office Essentials. Includes all titles that opened and earned any U.S./Canada box office in the
year. Historical data is regularly updated by comScore.
The total number of films released (718) increased one percent from 2015. Films released by MPAA members (139)
were down five percent in 2016 compared to 2015, which was a five-year high. Non-MPAA affiliated independents
continued to release the most films domestically (579) and were up three percent. Film attendance by moviegoers
remains concentrated, the top 140 films made up over 95 percent of the box office in 2016.
Film Ratings20
Source: CARA (Film ratings), MPAA (Subtotals)
In 2016, the number of non-MPAA member films rated (including non-theatrical films) decreased four percent from
2015, while MPAA member films increased five percent during the same time period. The number of non-MPAA
member films rated was down 30 percent from ten years ago, while MPAA member films were down 25 percent in the
same time period.
2007 2008 2009 2010 2011 2012 2013 2014 2015 2016
16 vs.
15
16 vs.
07
Film ratings 840 897 793 706 758 726 713 708 613 605 -1% -28%
-MPAA members21 233 201 177 174 169 166 169 165 167 176 5% -24%
-Non-members 607 696 616 532 589 560 544 543 446 429 -4% -29%
0
200
400
600
800
1,000
2007 2008 2009 2010 2011 2012 2013 2014 2015 2016
Film ratings Films released
22. 22
In 2016, PG-13 films comprised 14 of the top 25 films in release, more than any other rating, and up from 2015
(12). In 2016, nine of the top 10 and 19 of the top 25 films were released in 3D, both up compared to 2015 (six and
14). In 2016, the top 25 films accounted for 53 percent of total box office, while the top five films accounted for 18
percent of total box office, less than the equivalent percentages in 2015.
Top 25 Films by U.S./Canada Box Office Earned in 2016
Source: comScore – Box Office Essentials, CARA (Rating)
Rank Title Distributor
Box Office
(USD MM) Rating 3D
1 Finding Dory Disney $486.3 PG
2 Rogue One: A Star Wars Story* Disney $408.2 PG-13
3 Captain America: Civil War Disney $408.1 PG-13
4 Secret Life Of Pets, The Universal $368.4 PG
5 Jungle Book, The Disney $364.0 PG
6 Deadpool 20th Century Fox $363.1 R
7 Zootopia Disney $341.3 PG
8 Batman V Superman: Dawn Of Justice Warner Bros. $330.4 PG-13
9 Suicide Squad Warner Bros. $325.1 PG-13
10 Star Wars: The Force Awakens** Disney $284.7 PG-13
11 Doctor Strange* Disney $229.9 PG-13
12 Fantastic Beasts And Where To Find Them* Warner Bros. $222.7 PG-13
13 Moana* Disney $206.5 PG
14 Revenant, The** 20th Century Fox $182.8 R
15 Jason Bourne Universal $162.4 PG-13
16 Star Trek Beyond Paramount $158.8 PG-13
17 X-Men: Apocalypse 20th Century Fox $155.4 PG-13
18 Sing* Universal $152.9 PG
19 Trolls* 20th Century Fox $150.1 PG
20 Kung Fu Panda 3 20th Century Fox $143.5 PG
21 Ghostbusters Sony $128.4 PG-13
22 Central Intelligence Warner Bros. $127.4 PG-13
23 Legend Of Tarzan, The Warner Bros. $126.6 PG-13
24 Sully Warner Bros. $125.0 PG-13
25 Bad Moms STX Entertainment $113.3 R
* Film still in theaters in 2017; total reflects box office earned from January 1 – December 31, 2016
** Film released in theaters in 2015; total reflects box office earned from January 1 – December 31, 2016
Films Produced for Future Theatrical Release23
2012 2013 2014 2015 201624 16 vs. 15 16 vs. 12
MPAA member total 99 106 110 114 99 -13% --
Non-members (est. $1m+ budget) 377 349 371 387 411 6% 9%
- % with reported $15m+ budget 18% 15% 14% 15% 15% -- --
Total films produced (est. $1m+ budget) 476 455 481 501 510 2% 7%
Non-members (est. <$1m budget) 252 283 226 290 279
Total films produced 728 738 707 791 789
In 2016, the number of films entering production with estimated budgets greater than $1 million increased two
percent to 510. The increase was driven by non-MPAA member studio films, up six percent over 2015 to 411, while
the number of MPAA member studio films entering into production decreased to 99 in 2016.
23 These figures reflect full-length feature films in the English language which began production in the reported year, with a
U.S. production company (including co-productions). The counts do not include student films, documentaries, or films created
for video release. Budgets are estimated from publicly available information. In the interest of accuracy, MPAA compiles data
from a wide range of sources. The number for lower-budget films is variable and more difficult to track.
24 Data for 2016 is provisional as of March 2017, and may be revised as more information becomes available.
23. 2016
23
Top Film Demographics
2016 Gender Share of Top Grossing Films
Source: comScore/Screen Engine
comScore/Screen Engine’s “PostTrak” collects domestic survey data for all films in release in at least 800 theaters,
and links box office grosses to gender and ethnicity of attendees. The surveys are conducted during the first two
weeks of a film’s wide release.25
Three of the top five grossing films in 2016 attracted majority female audiences, led by the top box office title, Finding
Dory, which received 55 percent of its box office from women. Rogue One: A Star Wars Story and Captain America:
Civil War attracted majority male audiences. Both films received 59 percent of box office from men.
25 More details about comScore’s PostTrak methodology can be found in the methodology section at the end of this report.
51%
48%
46%
59%
59%
45%
50%
52%
54%
41%
41%
55%
0% 20% 40% 60% 80% 100%
Survey Average
The Jungle Book
The Secret Life of Pets
Captain America: Civil War
Rogue One: A Star Wars Story
Finding Dory
Male Female
24. 24
According to comScore/Screen Engine’s “PostTrak,” among the top grossing films, The Jungle Book drew the most
ethnically diverse audience, followed by Finding Dory and Captain America: Civil War.
26 Percentage values in table may not sum to 100 percent due to rounding.
52%
43%
50%
48%
62%
47%
15%
18%
14%
18%
11%
13%
21%
22%
24%
22%
15%
26%
7%
10%
8%
9%
8%
10%
4%
7%
4%
4%
4%
4%
0% 20% 40% 60% 80% 100%
Survey Average
The Jungle Book
The Secret Life of Pets
Captain America: Civil War
Rogue One: A Star Wars Story
Finding Dory
Caucasian African-American Hispanic Asian Native American/Other
2016 Ethnicity Share of Top Grossing Films26
Source: comScore/Screen Engine
25. 2016
25
Cinema Screens
In 2016, the number of digital screens in the United States increased, now accounting for 98 percent of all U.S.
screens. The number of non-3D digital screens declined by 156, decreasing one percent from the previous year to
account for 60 percent of all screens. The number of digital 3D screens increased two percent from 2015, while
analog screens are up 18 percent in the same time period.
In 2016, there were nearly 40,400 screens in the United States, a slight increase from 2015. The majority of screens
(85%) were located at venues with five or more screens. The number of screens at venues with four or fewer screens
was unchanged compared to the previous year, despite an overall increase in the number of screens.
U.S. Screens by Type of Venue27
Source: IHS Markit
2012 2013 2014 2015 2016
1-4 screen venues 6,386 6,487 6,133 6,076 6,076
5+ screen venues 33,276 33,537 33,824 34,098 34,316
Total 39,662 40,024 39,957 40,174 40,392
U.S. Screens by Type
Source: IHS Markit
27 2016 screen venue figures are estimates as of March 2017. Screen figures for previous years have been revised by source.
6,533
3,222
1,545 736 869
19,570
22,319
23,617 24,361 24,205
13,559 14,483
14,795 15,077 15,318
-
5,000
10,000
15,000
20,000
25,000
30,000
35,000
40,000
45,000
2012 2013 2014 2015 2016
Analog Digital non-3D Digital 3D
26. Sing - Courtesy Illumination Entertainment and Universal Pictures, Magnificent 7 - Courtesy Sony Pictures
27. 2016
27
Methodology
Attendance Demographics Study Methodology
Survey research
Motion Picture Association of America, Inc. (MPAA) commissioned Opinion Research Corporation (ORC) International
to study motion picture cinema attendance in the United States. A survey was conducted among a national probability
sample of 3,999 adults comprising 2,001 men and 1,998 women 18 years of age and older, living in private
households in the continental United States. Interviewing was completed beginning January 5, 2017, and ending
January 29, 2017 via four consecutive waves of CARAVAN®, ORC International’s weekly national telephone omnibus
survey.
A dual frame Random Digit Dial (RDD) sample consisting of landline and cell phone numbers was used in 2017.
Completed interviews consisted of ~50% conducted via cell phone and 50% conducted via landline. The proportion of
cell telephones in the sample has increased from 35% in 2014. This change to the CARAVAN sample was made in
January 2015 in recognition of the increasing proportion of American adults reliant primarily on cell phones. Details
about the CARAVAN dual frame sampling and weighting methodology are available upon request to ORC. The margin
of error for surveys with samples of 3,999 respondents, at the 95% confidence level, is plus or minus 1.55 percentage
points. A table showing margin of sampling error for key subgroups is included at the end of the document. While any
change in sampling methodology can potentially raise concerns, this can be overcome by the use of consistent and
standardized interviewing procedures and representative weighting.
The survey collected data on the frequency of adult motion picture attendance in the prior calendar year (January –
December 2016). In 2016, the 3D category was expanded to include movies in a large screen format such as IMAX.
• “Think back to January 2016—about a year ago. During the 12 month period from January through December
2016, about how many times did you go to the movies at theaters?”
• (IF 1 OR MORE): “And, of those [INSERT RESPONSE] movies that you saw in theaters, how many did you see
in 3D or in a large screen format such as IMAX?”
Also, where the respondent indicated the presence of a child or children in the household ages 2-17, the respondent
was asked to provide estimates of the frequency of each child’s motion picture attendance, as well as the child’s age
and gender. Following were the questions used, which were repeated for each child in order of oldest to youngest:
• “To better understand the make-up of the movie-going audience, we would also like to know about how
frequently children 2 and older attended the movies in 2016, including all times they went with guardians or
on their own. Now, thinking of your child at least 2 but under 18, how many times did he or she go to the
movies at theaters in 2016?”
• (IF 1 OR MORE): “And, of those [INSERT RESPONSE] movies, how many did that child see in 3D or in a large
screen format such as IMAX?”
In order to analyze the data for attendance levels for the entire population 2 years old or older, the survey data is
split into two data sets -- the original set of adult respondent data and a second set representing the child data. In
order to create this child’s data set, each child in the household is treated as a separate respondent. The child’s age,
gender and movie attendance are taken from the survey data provided by the parent. Each child’s race/ethnicity is
assumed to be the same as the parent, as is household information such as location and household income.
Once the two data sets are created, adult data is weighted by age, gender, region, race and education. The children’s
data is also separately weighted by age, gender, region and race. The data sets are combined and the data is
reviewed to ensure that the proportions of children to adults match the overall population. The combined data usually
demonstrates an overrepresentation of children vs. adults, as it does in 2017. In that case, the child’s data is then re-
weighted if necessary so that the ending proportions of children to adults corresponds to the actual population ratios.
This is necessary because there can be more than one child in many households. This weighted data set is used to
produce the attendance projections.
28. 28
Attendance Demographics Study Methodology continued
Attendance projections
The survey process yields a self reported frequency of motion picture cinema attendance for the total sample and for
each demographic group. When this frequency number is used to calculate total attendance in a calendar year, it
typically produces a number that exceeds the attendance figure reported by MPAA. This is due to over reporting on
the part of the respondents, so an adjustment factor is calculated for the total sample and for each demographic
group. This adjustment factor is derived by dividing the actual attendance number from MPAA by the attendance
number derived from the survey data for each demographic group. The resulting adjustment factor is typically a
number slightly less than one. Attendance projections are then created for each demographic group, using the
weighted total number of admissions derived from the survey data, multiplied by the adjustment factor. Due to the
sample size and approach of this survey, it is not feasible to provide additional data for demographic groups beyond
those listed on page 29 at a similar margin of error (+/- six or fewer percentage points).
Technology product ownership
A question was added in 2014 to measure ownership of key technology products among adults 18 years of age and
older. Some wording modifications were made in 2017.
• Which of the following do you own?
(READ LIST. RECORD AS MANY AS APPLY. WAIT FOR YES OR NO FOR EACH)
01 A desktop, laptop or netbook computer
02 A tablet such as an iPad, Galaxy Tab, Fire, G Pad, Surface, etc. (READ IF NECESSARY:
includes all Android and Windows based tablets. Does not include an e-reader)
03 A smartphone, such as an iPhone, Android phone, Microsoft phone, etc.
04 A video game system – either console or portable (READ IF NECESSARY: This includes any
PlayStation or PSP, Xbox, Nintendo, etc.)
05 A DVD or Blu-ray disc player (READ IF NECESSARY: stand-alone, not built into a video game
system or a PC/laptop)
06 Any internet-connected device that lets you stream video to your TV set (READ IF
NECESSARY: Includes a ‘smart–TV’, Roku, Google Chromecast, Amazon Fire TV, Apple TV,
etc.)
98 NONE OF THESE
99 DON’T KNOW
Survey results for this question are presented using adult data only, weighted by age, gender, region, race and
education.
30. 30
comScore PostTrak Methodology
PostTrak is conducted every week for all films in their first and second week of wide release. Twenty one theaters in
unique locations were chosen to participate and are demographically representative of the U.S. Census population.
Wide release includes all films playing in more than 800 theaters.
Sample sizes are as follows:
• 1st weekend –
• For Family titles, a minimum of N=1200 (which includes a mix of general audience, parents, and kids).
• For purely General Audience titles, a minimum of N=800.
• 2nd weekend –
• For Family titles, a minimum of N=600 (which includes a mix of general audience, parents, and kids).
• For purely General Audience titles, a minimum of N=400.
PostTrak uses a multi-mode methodology for data collection: paper and pencil and mobile tablet. All of the data is
then entered into comScore’s system within one hour of data collection for near-immediate reporting. To ensure the
audience composition is representative, audience audits are conducted at each location by field personnel. These
audits are then applied to the collected data and then weighted to the measured demographic of the actual
moviegoing audience for each movie.
Note that the “race/ethnicity” question is asked as follows:
Which race or ethnic group do you most identify with? Choose only one.
African-American/Black
Asian/Pacific Islander
Caucasian/White
Hispanic/Latino
Native American
Other28
All survey methodologies involve sampling a universe of potential respondents. The PostTrak surveys are subject to a
sampling error determined by the sample size for each film. The PostTrak method was designed to minimize the
sources of sampling error, as well as coverage error and errors due to response rate.
28 “Other” includes those who self-identify as a “mixed race or ethnicity” or “some other race.” For example, a person’s ethnicity
may be Hispanic, but they may also characterize themselves as a member of the Caucasian race. Consequently, when forced to
make only one selection, they will identify themselves as “Other” rather than choosing to only identify with one race or one
ethnic group individually.