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AUDIENCE OF FILM AND 
ROMANCE FILMS 
By Grace Cambridge
FILM 
Audience for films has changed a lot over the years. Film audiences 
increased as from the chance of short kinescopes to feature length 
films. It increased again with the introduction of colour and again with 
the introduction of ‘talkies’. In 1922, 40 million film tickets were sold per 
week but by 1929 this number had increased to 90 million tickets per 
week. Film attendance in the UK has slowly fizzled out after a soring 
number of tickets were sold between 1947 and 1951 where around 
1600 million cinema tickets were sold. This was due to the release of 
films such as Casablanca, It’s a Wonderful Life and Citizen Kane. Also 
because nobody owned a television it was the only way to watch the 
news so people would go to the cinema to see the news as well as 
films.
A CHART SHOWING THE CHANGES IN 
THE AMOUNT OF PEOPLE VISITING THE 
CINEMA IN THE UK.
AUDIENCE SIZE PER FILM 
In the UK as less tickets are being sold per year we gather that there 
are less people in the cinema and because of the number of films the 
audience number must also be decreasing. This shows that even 
though there are more films being produced and they make lots of 
money, in the UK less people are viewing them because the number 
of tickets being sold is decreasing and the amount of films that are 
being shown only receive a tiny portion of the total number of people 
viewing the films. This is why you find the price of tickets increasing as 
well as everything else you buy at a cinema increasing because the 
cinema company and the film producers all need to make money. If 
the number of tickets sold increased we many see a decrease in the 
price of tickets.
AUDIENCES FOR ROMANCE FILMS 
The primary audience for romance films hasn’t changed over the 
years, they are still mainly aimed at women, the type of women going 
to them has changed. With the changes in the genre, such as the 
introduction of sub-genres. One example of this is the introduction of 
teenage romance dramas where you wouldn’t expect to see older 
women watching that you expect to see young women and 
teenage girls at that kind of film, and you wouldn’t expect to see 
teenagers at a film like pride and prejudice as the film is aimed at an 
older audience like women aged between 40 and 50 year old.
MALE AUDIENCE 
The male audience for Romance Films has increased a lot over the 
last few years as more romance films from male perspectives have 
been released, films such as That Awkward Moment and Crazy, Stupid 
Love. These films have been used to try and create a bridge between 
the male gender and films that are mainly aimed a the female 
gender. This has been used to try and expand the target audience 
and bring in more money for the production company but to also try 
and expand the type of people that are viewing these films. The 
implied audience for these films was the male gender however many 
women also went to see them and this means that without even 
meaning to production companies have produced films that appeal 
to both the male and female gender.

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Audience of film and romance films

  • 1. AUDIENCE OF FILM AND ROMANCE FILMS By Grace Cambridge
  • 2. FILM Audience for films has changed a lot over the years. Film audiences increased as from the chance of short kinescopes to feature length films. It increased again with the introduction of colour and again with the introduction of ‘talkies’. In 1922, 40 million film tickets were sold per week but by 1929 this number had increased to 90 million tickets per week. Film attendance in the UK has slowly fizzled out after a soring number of tickets were sold between 1947 and 1951 where around 1600 million cinema tickets were sold. This was due to the release of films such as Casablanca, It’s a Wonderful Life and Citizen Kane. Also because nobody owned a television it was the only way to watch the news so people would go to the cinema to see the news as well as films.
  • 3. A CHART SHOWING THE CHANGES IN THE AMOUNT OF PEOPLE VISITING THE CINEMA IN THE UK.
  • 4. AUDIENCE SIZE PER FILM In the UK as less tickets are being sold per year we gather that there are less people in the cinema and because of the number of films the audience number must also be decreasing. This shows that even though there are more films being produced and they make lots of money, in the UK less people are viewing them because the number of tickets being sold is decreasing and the amount of films that are being shown only receive a tiny portion of the total number of people viewing the films. This is why you find the price of tickets increasing as well as everything else you buy at a cinema increasing because the cinema company and the film producers all need to make money. If the number of tickets sold increased we many see a decrease in the price of tickets.
  • 5. AUDIENCES FOR ROMANCE FILMS The primary audience for romance films hasn’t changed over the years, they are still mainly aimed at women, the type of women going to them has changed. With the changes in the genre, such as the introduction of sub-genres. One example of this is the introduction of teenage romance dramas where you wouldn’t expect to see older women watching that you expect to see young women and teenage girls at that kind of film, and you wouldn’t expect to see teenagers at a film like pride and prejudice as the film is aimed at an older audience like women aged between 40 and 50 year old.
  • 6. MALE AUDIENCE The male audience for Romance Films has increased a lot over the last few years as more romance films from male perspectives have been released, films such as That Awkward Moment and Crazy, Stupid Love. These films have been used to try and create a bridge between the male gender and films that are mainly aimed a the female gender. This has been used to try and expand the target audience and bring in more money for the production company but to also try and expand the type of people that are viewing these films. The implied audience for these films was the male gender however many women also went to see them and this means that without even meaning to production companies have produced films that appeal to both the male and female gender.