1、Section Title (Montserrat Bold, 16 pt.)Chairmans LetterResearch NoteExecutive SummaryTotal Theatrical & Home/Mobile EntertainmentHome/Mobile Entertainment: GlobalHome/Mobile Entertainment: United StatesHome/Mobile Viewing DemographicsTheatrical: GlobalTheatrical: U.S. & CanadaTheatrical Demographics

2、Appendix03040507256To all fans of film, television, and streaming:Chairmans LetterPage 32021 THEME Report | Chairmans LetterOver the last two years, the pandemic has impacted almost every aspect of our daily lives, generating new and unexpected challenges. The film, television, and stream

3、ing industry has not been immune, and in many ways, we are still navigating this new reality. But, as the Motion Picture Association commemorates our 100th anniversary this year, I have a renewed sense of optimism, thanks to what I see in our 2021 Theatrical and Home Entertainment Market Environment

4、 (THEME) Report. In short, 2021 marked the onset of our industrys rapid rebound. Id like to thank each and every member of our global audience for contributing to this success, which supports millions of creators around the world. The combined global theatrical and home/mobile entertainment market r

5、eached $99.7 billion, a growth of 24 percent since 2020, but more importantly, surpassing the pre-pandemic 2019 value. Add in pay TV, and the combined global theatrical and home entertainment market grew six percent from 2020 to $328.2 billion, matching 2019s record high.These figures underscore tha

6、t our industry is swiftly recovering around the world. For example, the digital content streaming marketplace in 2021 accounted for 72 percent of the combined theatrical and home/mobile entertainment market, up from 46 percent in 2019. In the U.S., the combined theatrical and home/mobile entertainme

7、nt market in 2021 was $36.8 billion, a 14 percent increase compared to 2020, but notably overtaking the 2019 figure of $36.1 billion. Streaming globally also continued to boom, with subscriptions in 2020 surpassing the one billion mark, and growing 14 percent in 2021 to reach 1.3 billion. The global

8、 box office market was $21.3 billion in 2021, up 81 percent compared to 2020, due to theater re-openings following the COVID-19 pandemic lockdowns, but remained well below pre-pandemic levels. Similarly, the U.S./Canada box office market was $4.5 billion in 2021, up 105 percent from 2020, although s

9、till down substantially compared to 2019. At the same time, the resounding success of Spider-Man: No Way Home and, more recently, The Batman, unmistakably show the value of big theatrical openings even during a pandemic.This report clearly demonstrates that our industry is powerful and resilient, an

10、d I am proud to see that production and releases of new shows and movies continue to skyrocket. Last year alone, more than 940 films entered production (more than double the 2020 figure), almost 560 original scripted series were released to U.S. audiences (up 13% from 2020), and more than 1,800 tota

11、l original series were released, including childrens programming, daytime dramas, and unscripted shows. This kind of pace of creativity is testament to how successful our industrys health and safety protocols have been during the COVID-19 era.As the Motion Picture Association looks ahead to our seco

12、nd century, I have never felt more confident about the future. We have navigated a centurys worth of challenges, and yet we continue to re-emerge as vibrant and creative as ever. Our members are the most dynamic and innovative companies on earth. Their capacity to bring people together through the t

13、imeless magic of extraordinary stories, well told, will continue to amaze, inspire, and captivate billions of viewers over the next 100 years.Best,Charles H. RivkinChairman and CEO Research NotePage 42021 THEME Report | Research NoteA NOTE FROM THE RESEARCH TEAMEach year, the Motion Picture Associat

14、ion (MPA) research team produces the Theatrical and Home/Mobile Entertainment Market Environment (THEME) Report by collecting and analyzing data from third-party sources and conducting an online audience survey of U.S. viewers of theatrical and home/mobile entertainment. The home/mobile entertainmen

15、t market covers both digital home/mobile entertainment (electronic sell-through EST, video-on-demand VOD, and subscription streaming) and physical home/mobile entertainment (Blu-ray and DVD rentals and sales) on all devices whether at home or on mobile. The report also provides estimates of subscrip

16、tions to pay television and online video services. The appendix contains a glossary of key terms. As with last year, we aimed to collect comparable data to provide accurate measurements during the ongoing COVID-19 pandemic. However, due to the unprecedented impacts of the pandemic on our industry, w

17、e have continued the adjustments to our reporting from last year. For example, some comparisons included in past reports continue to be infeasible to include (e.g., ticket prices and comparisons to theme park and sports, technology/moviegoer analysis, and detailed frequent moviegoer analysis, due to

18、 small base sizes) and others require some caveats, such as country box office comparisons. As part of our ongoing effort to make the THEME Report useful and comprehensive, the following updates are also present in this years edition:COVID-19 Insights: As with last year, we asked two additional ques

19、tions in the survey to better understand how the COVID-19 pandemic has affected home/mobile viewing in the United States. Respondents who viewed via EST/VOD were asked if they had purchased a film via premium video-on-demand (PVOD). The second question gauged how much viewing had changed for each re

20、spondent for each of the distribution channels of home/mobile entertainment. We also included an updated graph to the report showing the percentage of screens closed by week.Methodological Refinements: We added new data and graphs to provide an aggregated view of the theatrical and home entertainmen

21、t/mobile market combined with the pay television subscription market using Omdia data. We provided new breakouts of the international home/mobile market by region and added new data estimating online exclusive film releases based on Ampere data. Due to changes in data availability, we have updated t

22、he U.S. top 20 watched at home titles to be based on weekly charts available at The Numbers.Currency Effects: In order to aggregate data from all the international markets covered by this report, measurements are conducted in U.S. dollars. That means from year to year, the relative strength or weakn

23、ess of the U.S. dollar may directly impact the results presented in this report. It also means that the percentage change measurements will differ from others calculated based on local currency. Updates from Sources: Figures in this report have been updated to reflect the most accurate data now avai

24、lable, including revisions to historical data made by Omdia. Pandemic-related shutdowns have affected availability of cinema screen classification. Omdia was formerly known as IHS Markit in prior reports.We hope this note and the report itself help to provide a better understanding of the evolving g

25、lobal theatrical and home/mobile entertainment market. Julia JenksVice President of Worldwide ResearchGlobal TrendsThe global home/mobile entertainment market (content released digitally and on disc) reached $78.5 billion in 2021, a 14 percent increase compared to 2020, driven by digital. The digita

26、l market increased 11 percent in the U.S. and 24 percent outside the U.S., compared to 2020 (p. 13).The number of subscriptions to online video services around the world increased to 1.3 billion in 2021, a 14 percent increase compared to 2020. Online video subscription became the second largest subs

27、cription revenue market in 2021, surpassing satellite TV, as a result of a $17.9 billion, or 26 percent, increase. (p. 15). U.S. TrendsIn the United States, the home/mobile entertainment market (content released digitally and on disc) increased to $32.3 billion in 2021, up seven percent compared to

28、2020, driven by digital (p.17). The number of online video subscriptions in the United States increased 14 percent to 353.2 million in 2021 (p. 20).In 2021, there were more than 1,800 original series released, including nearly 560 scripted original series. The number of original series increased 15

29、percent compared to 2020, when many series skipped seasons due to pandemic-related production delays. The increase in 2021 was driven by original series released on online services, which reached nearly 700 series in 2021 (p. 23). There were nearly 180 original films exclusive to online services rel

30、eased in 2021, comparable to 2020 and an over 90 percent increase from 2017 (p. 24). Approximately 80 percent of U.S. adults watch movies and shows/series via traditional television services and online subscription services, the highest proportion of the home/mobile viewing methods (p.27). The Hispa

31、nic/Latino ethnicity category is overrepresented in the population of daily viewers of several viewing methods (p.29).More than half (53 percent) of U.S. adults reported that their viewing of movies or shows/series via an online subscription service increased during the COVID-19 pandemic period, whi

32、le 42 percent reported that their viewing via pay TV increased (p. 28). More than 85 percent of children and more than 55 percent of adults watched movies and/or shows/series on mobile devices (p. 33). Daily viewers of shows/series and movies via mobile devices skewed more heavily towards the 18-24

33、and 25-39 year age groups, and towards the Hispanic/Latino and African-American/Black ethnicity categories (p. 31).Executive SummaryPage 52021 THEME Report | Executive SummaryTOTAL THEATRICAL & HOME/MOBILE ENTERTAINMENTIn 2021, the combined global theatrical and home/mobile entertainment market, exc

34、luding pay TV, was $99.7 billion, a 24 percent increase compared to 2020 (p.8), surpassing 2019s total. A 14 percent increase in the global home/mobile entertainment market (p.13) and an 81 percent increase in the global theatrical market following theater re-openings (p.38) contributed to the incre

35、ase. When including pay TV, the combined global theatrical and home/mobile entertainment market was $328.2 billion, a six percent increase, matching 2019s record high (p.9). In the United States, theatrical and home/mobile entertainment, excluding pay TV, was $36.8 billion in 2021, a 14 percent incr

36、ease compared to 2020 (p. 10). A 105 percent increase in the box office market (p. 45) and a 11 percent increase in the U.S. digital home/mobile entertainment market (p.17) contributed to the overall increase. When including pay TV, the combined theatrical and home/mobile entertainment market was $1

37、33.5 billion, holding steady from 2020 (p.11). HOME/MOBILE ENTERTAINMENTExecutive SummaryPage 62021 THEME Report | Executive SummaryTHEATRICALGlobal TrendsThe global box office market for all films released in each country around the world was $21.3 billion in 2021, up 81 percent over 2020s total as

38、 a result of theater re-openings following COVID-19 pandemic lockdowns. The international box office market ($16.8 billion), which excludes the U.S./Canada, increased 76 percent and accounted for 79 percent of the global market (p. 38).Year-end comparisons between country box office totals are chall

39、enging due to the effects of the pandemic, differing local restrictions, and related theater closures. Under these parameters, the top three box office markets outside the U.S./Canada in 2021 were China ($7.3 billion, including online ticketing fees), Japan ($1.5 billion), and the U.K. ($0.8 billion

40、) (p. 40). U.S./Canada TrendsThe U.S./Canada box office market was $4.5 billion in 2021, up 105 percent from 2020, although the market is still down substantially from pre-pandemic levels. U.S./Canada admissions, or tickets sold (470 million), were up 100 percent compared to 2020 (p. 45).Just under

41、half (47%) of the U.S./Canada population or 168 million people went to the cinema at least once in 2021 (p. 53). Per capita attendance, or the average number of times a person went to the cinema, was highest among the 12-17 age group, and among the Hispanic/Latino ethnicity category (p. 55).Frequent

42、 moviegoers individuals who go to the cinema once a month or more continue to have a disproportionate impact on cinema admissions. Frequent moviegoers consisted of only three percent of the U.S./Canada population (12 million people) in 2021 but accounted for 34 percent of tickets sold (p.53). More t

43、han 940 films entered production during 2021, an increase of 111 percent compared to 2020, when many productions were shut down or delayed due to the COVID-19 pandemic. (p.47). $14.9$12.6$10.3$8.0$6.5$28.7$37.7$45.5$60.7$71.9$41.0$41.8$42.3$11.8$21.3$0$20$40$60$80$201920202021PhysicalDigi

44、talTheatricalGlobal Theatrical & Home/Mobile EntertainmentPage 82021 THEME Report | Global Theatrical & Home/Mobile EntertainmentIn 2021, the combined theatrical and home/mobile entertainment1market2globally was $99.7 billion, a 24 percent increase compared to 2020, surpassing 2019s value. This figu

45、re does not include the pay television subscription market. There was an 81 percent increase in the global theatrical market due to theaters re-opening and an 18 percent increase in the digital home/mobile entertainment market compared to 2020.Global Theatrical & Home/Mobile Entertainment Market (US

46、$ Billions)Source: Omdia (International), Comscore Box Office Essentials (Theatrical), Digital Entertainment Group (U.S.)In 2021, the digital market accounted for 72 percent of the combined theatrical and home/mobile entertainment market, down from 75 percent in 2020. The theatrical market (21%) and

47、 the physical market (7%) made up the rest. 2021 Global Theatrical & Home/Mobile Entertainment Market (% Share)3Source: Omdia (International), Comscore Box Office Essentials (Theatrical), Digital Entertainment Group (U.S.)1Home/mobile entertainment refers to entertainment content viewed on all devic

48、es, whether home-based (e.g. TVs) or mobile-based (e.g. smart phones). This includes both digital methods (electronic sell-through EST, video on demand VOD and paid subscription streaming SVOD excluding virtual pay TV and physical methods (Blu-ray and DVD sales and rentals). Digital includes movies

49、and TV, and excludes sports. The advertising-based market is also excluded. Previous years estimates may be updated based on changes made by sources.2Throughout this report, the term “market” refers to consumer spending. (Note that the subscription streaming subcategory is revenue.)3The combined mar

50、ket for entertainment content at movie theaters and content released digitally and on disc. This excludes pay television subscription revenue and licensing, and the advertising-based market. $84.692.198.180.599.7Physical7%Digital72%Theatrical21%$14.9$12.6$10.3$8.0$6.5$28.7$37.7$45.5$60.7$71.9$41.0$4

51、1.8$42.3$11.8$21.3$234.0$235.9$230.1$228.5228.5$0$100$200$300$400200202021PhysicalDigitalTheatricalPay TVGlobal Theatrical & Home/Mobile EntertainmentPage 92021 THEME Report | Global Theatrical & Home/Mobile EntertainmentWhen pay television subscription4is added to the total combined glob

52、al theatrical and home/mobile entertainment market, the value increases to $328.2 billion, a six percent increase compared to 2020, matching 2019s record high.Global Theatrical, Home/Mobile Entertainment and Pay TV Market (US$ Billions)Source: Omdia (International), Comscore Box Office Essentials (T

53、heatrical), Digital Entertainment Group (U.S.)Pay television subscription accounted for 70 percent of the total combined theatrical, home/mobile entertainment and pay TV market, with the digital market (22%), theatrical market (6%), and the physical market (2%) making up the rest. 2021 Global Theatr

54、ical, Home/Mobile Entertainment and Pay TV Market (% Share)5Source: Omdia (International), Comscore Box Office Essentials (Theatrical), Digital Entertainment Group (U.S.)4Pay television subscription includes monthly pay TV subscription fees and pay TV on-demand services, excluding set-top box rental

55、 or installation fees. Tiers included are basic, extended basic, premium, and a la carte. Previous years estimates may be updated based on changes made by sources.5The combined market for entertainment content on pay TV services, cinema screens, digital services and discs. This excludes the advertis

56、ing-based market. $318.6$328.0328.2309.0328.2Physical2%Digital22%Theatrical6%Pay TV70%$6.8$5.8$4.7$3.5$2.8$14.0$17.4$20.0$26.5$29.5$11.1$11.9$11.4$2.2$4.5$0$5$10$15$20$25$30$35$40200202021PhysicalDigitalTheatricalU.S. Theatrical & Home/Mobile EntertainmentPage 102021 THEME Report | U.S. T

57、heatrical & Home/Mobile EntertainmentIn 2021, the combined theatrical and home/mobile entertainment market in the United States6was $36.8 billion, a 14 percent increase compared to 2020 and a 15 percent increase compared to 2017, with growth in both the theatrical and digital markets. U.S. Theatrica

58、l & Home/Mobile Entertainment Market (US$ Billions)Source: Comscore Box Office Essentials (Theatrical), Digital Entertainment Group (Home Entertainment)In 2021, the digital market accounted for 80 percent of the combined theatrical and home/mobile entertainment market in the United States, followed

59、by the theatrical market (12%), and the physical market (8%). 6U.S. home/mobile entertainment market data comes from Digital Entertainment Group (DEG), which only covers the U.S. DEGs definition of physical includes sell-through packaged goods and physical rental. Digital includes EST, VOD, and subs

60、cription streaming (SVOD). VOD spending does not include premium Video-on-Demand (PVOD). Including PVOD would increase the digital total. Theatrical market data comes from Comscore and includes both U.S. and Canada. Previous years estimates may be updated based on changes made by source. Pay televis

61、ion subscription revenue and licensing, and the advertising-based market, are not included.2021 U.S. Theatrical & Home/Mobile Entertainment Market (US$ Share)Source: Comscore Box Office Essentials (Theatrical), Digital Entertainment Group (Home Entertainment)$36.8$32.2$36.1$35.1$31.9Physical8%Digita

62、l80%Theatrical12%$6.8$5.8$4.7$3.5$2.8$14.0$17.4$20.0$26.5$29.5$11.1$11.9$11.4$2.2$4.5$109.6$107.2$104.3$101.5$96.7$0$20$40$60$80$100$120$140$201920202021PhysicalDigitalTheatricalPay TVU.S. Theatrical & Home/Mobile EntertainmentPage 112021 THEME Report | U.S. Theatrical & Home/Mobile Enter

63、tainmentWhen pay television subscription7is added to the combined U.S. theatrical and home/mobile entertainment market in the United States, the 2021 total was $133.5 billion, holding steady compared to 2020 and a six percent decrease compared to 2017 due to decreases in the pay TV and physical mark

64、ets. U.S. Theatrical & Home/Mobile Entertainment Market and Pay TV Market (US$ Billions)Source: Comscore Box Office Essentials (Theatrical), Digital Entertainment Group (Home Entertainment), Omdia (Pay Television)Pay television subscription accounted for 73 percent of the total combined theatrical,

65、home/mobile entertainment and pay TV market, followed by the digital market (22%), theatrical market (3%), and the physical market (2%). 2021 U.S. Theatrical & Home/Mobile Entertainment Market and Pay TV Market (US$ Share)8Source: Comscore Box Office Essentials (Theatrical), Digital Entertainment Gr

66、oup (Home Entertainment), Omdia (Pay Television)$133.5$133.7$140.4$142.3$141.5Physical2%Digital22%Theatrical3%Pay TV73%7Pay television subscription includes monthly pay TV subscription fees and pay TV on-demand services, excluding set-top box rental or installation fees. Tiers included are basic, ex

67、tended basic, premium, and a la carte. Previous years estimates may be updated based on changes made by sources.8The combined market for entertainment content on pay TV services, cinema screens, digital services and discs. This excludes the advertising-based market. In 2021, the home/mobile entertai

68、nment9market (content released digitally and on disc) reached $78.5 billion globally, a 14 percent increase compared to 2020. The digital market was the driver of growth. The U.S. digital market increased 11 percent and the international digital market increased 24 percent, when compared to 2020. $6

69、.8$5.8$4.7$3.5$2.8$14.0$17.4$20.0$26.5$29.5$8.0$6.8$5.5$4.5$3.7$14.6$20.3$25.5$34.2$42.5$0$10$20$30$40$50$60$70200202021U.S. PhysicalU.S. DigitalInternational PhysicalInternational DigitalGlobal Home/Mobile EntertainmentPage 132021 THEME Report | Global Home/Mobile EntertainmentGlobal Hom

70、e/Mobile Entertainment Market (US$ Billions)Source: Omdia (International) and Digital Entertainment Group (U.S.)$43.4$50.3$55.7$68.7$78.520020202121 vs. 20InternationalPhysical10$8.0$6.8$5.5$4.5$3.7-16%Digital11$14.6$20.3$25.5$34.2$42.524%U.S.12Physical$6.8$5.8$4.7$3.5$2.8-20%Digital$14.0

71、$17.4$20.0$26.5$29.511%Total$43.4$50.3$55.7$68.7$78.514%9 Home/mobile entertainment refers to entertainment content viewed on all devices, whether home-based (e.g. TVs) or mobile-based (e.g. smart phones). This includes both digital methods (EST, VOD, and paid subscription streaming (SVOD) excluding

72、 virtual pay TV and physical methods (Blu-ray and DVD sales and rentals). Digital includes movies and TV, and excludes sports. Previous years estimates may be updated based on changes made by sources.10International physical is sourced from Omdia and includes all countries except the United States.

73、Includes Movie and TV genre rental and retail consumer spending. Previous years estimates may be updated based on changes made by source.11International digital is sourced from Omdia and includes all countries except the United States. Includes online video (EST, iVOD), Pay TV EST/SVOD/VOD for TV an

74、d Movie genre consumer spending. Also includes Online Subscription Revenue (Multiscreen, N/A (Others) and Online Channel) for movie and TV genre, excluding Virtual Pay TV. Previous years estimates may be updated based on changes made by source. 12 The source of U.S. home/mobile entertainment data is

75、 Digital Entertainment Group (DEG), which covers the United States (not Canada). DEGs definition of physical includes sell-through packaged goods and physical rental. Digital includes EST, VOD, and subscription streaming (SVOD). VOD spending does not include premium Video-on-Demand (PVOD). Including

76、 PVOD would increase the digital total. Previous years estimates may be updated based on changes made by source.International Home/Mobile EntertainmentPage 142021 THEME Report | Global Home/Mobile EntertainmentInternational Home/Mobile Entertainment Market by Region (US$ Billions)Source: Omdia13 Hom

77、e/mobile entertainment refers to entertainment content viewed on all devices, whether home-based (e.g. TVs) or mobile-based (e.g. smart phones). This includes both digital methods (EST, VOD, and paid subscription streaming (SVOD) excluding virtual pay TV and physical methods (Blu-ray and DVD sales a

78、nd rentals). Digital includes movies and TV, and excludes sports. Previous years estimates may be updated based on changes made by sources.14 Percentage change is calculated using table values before rounding.$9.1$11.0$12.4$16.2$19.6$9.0$11.0$12.6$15.4$18.0$2.1$2.8$3.5$4.6$6.0$0$10$20$30201720182019

79、20202021EMEAAsia PacificLatin America200202021% Change1421 vs. 20% Change1421 vs. 17Europe, Middle East & Africa$9.1$11.0$12.4$16.2$19.621%116%Asia Pacific$9.0$11.0$12.6$15.4$18.017%101%Latin America$2.1$2.8$3.5$4.6$6.029%179%Total$20.2$24.8$28.5$36.2$43.621%116%The Europe, Middle East &

80、Africa (EMEA) home/mobile entertainment market13reached $19.6 billion in 2021, a 21 percent increase compared to 2020.The Asia Pacific home/mobile entertainment market reached $18.0 billion in 2021, a 17 percent increase compared to 2020.Latin Americas home/mobile entertainment market increased 29 p

81、ercent in 2021 to a total of $6.0 billion.The global total of online video subscriptions (1.3 billion), such as Netflix and Disney+, increased by 14 percent, or 164.1 million, when comparing 2021 to 2020. The number of cable subscriptions decreased by one percent in 2021 to 526.5 million. Households

82、 with more than one type of subscription service are counted in each of the categories to which they subscribe. For example, the majority of households have both pay TV and online subscriptions15, and are counted in both categories.Global Pay TV & Online Video SubscriptionsPage 152021 THEME Report |

83、 Global Pay TV & Online Video SubscriptionsGlobal Pay TV & Online Video Subscriptions (Millions)16Source: Omdia02004006008001,0001,2001,4001,600200202021Online VideoCableInternet Protocol Television(IPTV)SatelliteVirtual Pay TVDigital Terrestrial Television(DTT)The pay TV subscription mar

84、ket (excluding online video subscription) was $228.5 billion globally in 2021. Cable remains the largest subscription market in terms of revenue, remaining steady from 2020 despite the decrease in subscriptions. Online video subscription became the second largest subscription revenue market in 2021,

85、 surpassing satellite TV, as a result of a $17.9 billion, or 26 percent, increase. Global Pay TV & Online Video Subscription Markets (US$ Billions)16, 17Source: Omdia15Ampere Analysis graph (10/24/18), “SVoD-only households vs. pay TV-only households.” Retrieved from https:/ Online video subscriptio

86、n includes Channel (e.g. SVOD), Multiscreen (e.g. TV Everywhere), and N/A (Others), and excludes Virtual Pay TV as well as the advertising-based and online transactional markets. Virtual Pay TV includes services such as Sling TV and Hulu Live TV. Online and Virtual Pay TV both include movies, sports

87、, and TV. Previous years estimates were updated based on changes made by source.17Market includes monthly pay TV subscription fees and pay TV on-demand services, excluding set-top box rental or installation fees. Tiers included are basic, extended basic, premium, and a la carte. Previous years estim

88、ates may be updated based on changes made by source.$0$20$40$60$80$100$201920202021CableSatelliteOnline VideoVirtual Pay TVIPTVDTT$10.4$13.2$15.8$21.2$25.3$10.5$10.0$9.0$8.8$7.0$0$10$20$30$40200202021SubscriptionTransactional$6.8$5.8$4.7$3.5$2.8$14.0$17.4$20.0$26.5$29.5$0$10$20

89、$30$40200202021PhysicalDigitalU.S. Home/Mobile EntertainmentPage 172021 THEME Report | U.S. Home/Mobile EntertainmentIn 2021, the overall home/mobile entertainment market (content released digitally and on disc) in the United States was $32.3 billion, up seven percent compared to 2020. Th

90、e digital market increased by 11 percent compared to 2020, while the physical market decreased by 20 percent. The subscription market continues to increase (up 19% from 2020), while the transactional market continues to decrease (down 21% from 2020).U.S. Home/Mobile Entertainment Market (US$ Billion

91、s)18Source: Digital Entertainment Group$32.3$30.0$24.7$23.2$20.820020202121 vs. 20Physical$6.8$5.8$4.7$3.5$2.8-20%Digital$14.0$17.4$20.0$26.5$29.511%Total$20.8$23.2$24.7$30.0$32.37%$32.3$30.0$24.8$23.2$20.920020202121 vs. 20Transactional19$10.5$10.0$9.0$8.8$7.0-21%Subscription1

92、9$10.4$13.2$15.8$21.2$25.319%Total$20.9$23.2$24.8$30.0$32.37%18The source of U.S. home/mobile entertainment data is Digital Entertainment Group (DEG), which covers the United States (not Canada). DEGs definition of physical includes sell-through packaged goods and physical rental. Digital includes E

93、ST, VOD, and subscription streaming (SVOD). VOD spending does not include premium Video-on-Demand (PVOD). Previous years estimates may be updated based on changes made by source.19Transactional includes physical sell-through packaged goods and rental, EST, and VOD. VOD spending does not include prem

94、ium Video-on-Demand (PVOD). Subscription includes digital subscription streaming. U.S. Top 20 Weekly Watched at HomePage 182021 THEME Report | U.S. Top 20 Watched at HomeTop 20 Titles in DEG20 Weekly Watched at Home List, 202121Source: DEG and The NumbersRankTitleStudioWeeks in Top 20 Watched at Hom

95、e1Yellowstone: S1Paramount492Yellowstone: S3Paramount453Harry Potter: Complete 8-Film CollectionWarner Bros.404Yellowstone: S2Paramount355The Croods: A New AgeDreamWorks196NobodyUniversal177TenetWarner Bros.168Wrath of ManMGM169News of the WorldUniversal1510The Hitmans Wifes BodyguardLionsgate1411F9

96、: The Fast SagaUniversal1412Free GuyDisney1413A Quiet Place: Part IIParamount1414Let Him GoUniversal1315Monster HunterSony1316Lord of the Rings - The Motion Picture TrilogyWarner Bros.1317GreenlandWarner Bros.1318Promising Young WomanUniversal1219The MarksmanOpen Road Films1220Rick and Morty: S5Warn

97、er Bros.1220 Digital Entertainment Group Watched at Home Top 20 includes U.S. digital sales (EST), digital rentals (VOD), DVD & Blu-ray sales assembled with the newest studio and retailer/platform data every seven days. This data does not include premium VOD (PVOD).21 Weekly top 20 lists pulled from

98、 The Numbers covering 53 weeks of 2021, from week closing January 2, 2021 to week closing January 1, 2022. Frequencies compiled by MPA.U.S. Online Views & TransactionsPage 192021 THEME Report | U.S. Online Views & TransactionsOnline video content viewing continued its upward trend in 2021, reaching

99、352.9 billion views/transactions in the United States, a six percent increase compared to 2020. Online movie views/transactions increased by 15 percent and TV views/transactions increased by 5 percent compared to 2020. There are more than 135 online services providing movies and television shows to

100、U.S. consumers. U.S. Online Views & Transactions (Billions)Source: Omdia10.612.115.129.533.9120.0152.3186.3304.2319.00500300350400200202021Online movie views/transactionsOnline TV views/transactions20020202121 vs. 20Online movie views/transactions2210.612.115.129.533

101、.915%Online TV views/transactions23120.0152.3186.3304.2319.05%Total130.6164.4201.4333.7352.96%22 Online movie views/transactions includes views from subscription services (including virtual pay TV), and digital transactions. Previous years estimates may be updated based on changes made by source.23

102、Online TV views/transactions includes subscription services (including virtual pay TV), and digital transactions. Previous years estimates may be updated based on changes made by source. Previous years had included free to view via pay TV services but current figures do not.130.6164.4201.4333.7352.9

103、U.S. Pay TV & Online Video SubscriptionsPage 202021 THEME Report | U.S. Pay TV & Online Video SubscriptionsIn 2021, the number of online video subscriptions in the United States increased to 353.2 million, up 14 percent from 2020. The number of virtual pay TV subscriptions increased to 14.5 million,

104、 up 18 percent from 2020. Households with more than one type of subscription service are counted in each of the categories to which they subscribe. For example, the majority of households have both pay TV and online subscriptions24and are counted in both categories. U.S. Pay TV & Online Video Subscr

105、iptions (Millions)25Source: Omdia0500300350400200202021Online VideoCableSatelliteVirtual Pay TVIPTVThe pay TV subscription market (excluding online video subscriptions) was $96.7 billion in the United States in 2021. Cable, the largest subscription revenue market, was $49.0 bil

106、lion in 2021, down three percent compared to 2020. Online video surpassed satellite to become the second largest subscription revenue market, with an increase of 24 percent to $40.2 billion in 2021. U.S. Pay TV & Online Video Subscription Markets (US$ Billions)25, 26Source: Omdia24Ampere Analysis gr

107、aph (10/24/18), “SVoD-only households vs. pay TV-only households.” Retrieved from https:/ Online video subscription includes Channel (e.g. SVOD), Multiscreen (e.g. TV Everywhere), and N/A (Others), and excludes Virtual Pay TV as well as the advertising-based and online transactional markets. Virtual

108、 Pay TV includes services such as AT&T Now and Hulu Live TV. Online and Virtual Pay TV both include movies, sports, and TV. Previous years estimates may be updated based on changes made by source.26Market includes monthly pay TV subscription fees and pay TV on-demand services, excluding set-top box

109、rental or installation fees. Tiers included are basic, extended basic, premium, and a la carte. Previous years estimates may be updated based on changes made by source.$0$10$20$30$40$50$60200202021CableSatelliteOnline VideoIPTVVirtual Pay TVU.S. Top 10 Streaming SeriesPage 212021 THEME Re

110、port | U.S. Top 10 Streaming SeriesRankTitleSVOD Provider(s)# of EpisodesMinutes Streamed (Nearest Millions)1LuciferNetflix9318,3422Squid GameNetflix916,4323Great British Baking ShowNetflix7513,6364Virgin RiverNetflix3012,9085BridgertonNetflix812,3566YouNetflix3011,1247Cobra KaiNetflix3010,9158The C

111、rownNetflix409,6519LongmireNetflix638,89210The Handmaids TaleHulu468,564RankTitleSVOD Provider(s)# of EpisodesMinutes Streamed (Nearest Millions)1Criminal MindsNetflix32233,8652CocomelonNetflix1533,2783Greys AnatomyNetflix38232,6254NCISNetflix35429,5295HeartlandNetflix21520,4106ManifestNetflix4219,9

112、237SupernaturalNetflix32918,9128Schitts CreekNetflix8018,0629Gilmore GirlsNetflix15314,70410New GirlNetflix14614,680U.S. Top 10 Streaming Original Series27Source: NielsenU.S. Top 10 Streaming Acquired Series27Source: Nielsen27 Nielsen SVOD Content Ratings (Netflix, Amazon Prime, Disney+ and Hulu), N

113、ielsen TV Panel, U.S. Viewing through Television. U.S. persons aged 2+, total minutes viewed during 2021 (12/28/2020-12/26/21).U.S. Top 10 Streaming FilmsPage 222021 THEME Report | U.S. Top 10 Streaming FilmsRankTitleSVOD Provider(s)Minutes Streamed (Nearest Millions)1Luca (2021)Disney+10,5922MoanaD

114、isney+8,8963Raya and the Last DragonDisney+8,3434Frozen IIDisney+5,7465Red NoticeNetflix5,5286FrozenDisney+5,1467Soul (2020)Disney+5,2828CruellaDisney+5,1749Mitchells vs. The MachinesNetflix4,51710Jungle CruiseDisney+4,425U.S. Top 10 Streaming Films28Source: Nielsen28 Nielsen SVOD Content Ratings (N

115、etflix, Amazon Prime, Disney+ and Hulu), Nielsen TV Panel, U.S. Viewing through Television. U.S. persons aged 2+, total minutes viewed during 2021 (12/28/2020-12/26/21).Original SeriesPage 232021 THEME Report | Original Series ProductionIn 2021, there were 559 original scripted series released on br

116、oadcast, pay TV, and online services aimed at U.S. audiences, according to FX Networks Research, a 13 percent increase compared to 2020. Estimated Number of Scripted Original Series29Source: FX Networks ResearchExpanding the analysis to include additional categories of original series (unscripted sh

117、ows, childrens programs, and daytime dramas) released, there were 1,826 total original series in 2021. This was up 15 percent from 2020, when many series skipped seasons due to pandemic-related production delays. The increase was driven by original series released on online services, which reached 6

118、93 in 2021, a 54 percent increase compared to 2020.Estimated Number of Total Original Series3029Estimated by FX Networks Research as of January 2022 based on third party data covering broadcast, cable and online outlets. Excludes library, daytime dramas, one-episode specials, non-English language/En

119、glish-dubbed, childrens programs, and short form content (15 mins). See, e.g. Schneider, Michael, Peak TV Tally: According to FX Research, A Record 559 Original Scripted Series Aired in 2021 Variety, 1/14/2022.30These estimates reflect full-length original scripted and unscripted series in the Engli

120、sh language released in the reported year, by a U.S. production company (including co-productions). Compiled based on a number of sources, including MPA member studios, film offices, and third party sources, including Ampere Analysis and Variety Insight. In addition to FX coverage, these estimates i

121、nclude the following content types: daytime dramas, childrens programs, and unscripted series including news and talk shows. Multiple seasons in one year for a series are counted only once. Previous years estimates are updated as more information becomes available.487496532493559005006002

122、002020211,2091,0671,064923522824626931,6711,6091,6461,5891,82605001,0001,5002,000200202021Pay TVBroadcastOnline ServicesOnline Exclusive FilmsPage 242021 THEME Report | Original Series ProductionIn 2021, there were 179 original films exclusive to online st

123、reaming services, comparable to 2020. Estimated Number of Online Exclusive Films31Source: Ampere31These estimates reflect full-length (greater than 70 minutes) original films that were released exclusively in the U.S. on the following streaming services available in the U.S.: Amazon Prime Video, App

124、le TV+, Disney+, HBO Max, Hulu, Netflix, Paramount+, Peacock, Roku, Showtime, and Starz. Films with any theatrical release, including limited release are not included. 93902040608000021U.S. Average Time Spent with VideoPage 252021 THEME Report | U.S. Avera

125、ge Time Spent with VideoIn 2021, the time U.S. adults spent per day watching TV (live or recorded) decreased by 17 minutes to 3 hours and 16 minutes compared to 2020. The time U.S. adults spent per day watching video on other connected devices, such as an app on a smart TV or a streaming device, inc

126、reased 6 minutes to 1 hour and 11 minutes in 2021. Average Time Spent per Day with Video by U.S. Adults (Minutes)32Source: eMarketer0500TVDesktop/laptop videoMobile videoOther connected devicevideo200202021In 2021, 57 percent of time spent watching video was via TV (live or rec

127、orded), the highest share of any device, but the share was down three percentage points compared to 2020. The share via other connected devices was 21 percent, up from 18 percent in 2020. The time spent per day watching subscription over-the-top (OTT) video increased nine percent to 79.8 minutes. 20

128、21 Average Time Spent per Day with Video by U.S. Adults (Minutes)32Source: eMarketerMobile video15%Desktop/laptop video7%Other connected device video21%TV57%32If two or more devices are being used at the same time, time is counted for all devices. Other connected devices includes game consoles, smar

129、t TVs, and devices such as Chromecast and Roku. Subscription OTT video includes time spent watching video via any app or website that provides paid subscription access to streaming video content over the internet, and bypasses traditional distribution (e.g. Netflix, HBO Now, Hulu, etc.). Previous ye

130、ars estimates may be updated based on changes made by source.Frequency of Home/Mobile Viewing: All Adults/All DevicesPage 272021 THEME Report | Frequency of Home/Mobile Viewing: All Adults/All DevicesIn 2021, approximately 80 percent of U.S. adults watched movies and shows/series via traditional tel

131、evision services and online subscription services, the highest proportion of the home/mobile viewing methods. The percent using online subscription services and traditional television services was similar to 2020. These viewing methods also had the highest share of daily viewers (just over 20% of th

132、e population).Viewing via online Electronic Sell-Through (EST)/video-on-demand (VOD) services decreased in 2021, with 52 percent of U.S. adults watching movies on EST/VOD in 2021, down from 54 percent in 2020. In 2021, 60 percent of adults who viewed movies via EST/VOD also paid to rent movies not r

133、eleased or newly released in movie theaters (PVOD).332021 Share of Population Viewing Movies by Home/Mobile Distribution Channel345%5%21%20%8%7%25%20%7%7%12%12%36%33%24%27%44%48%18%21%0%20%40%60%80%100%Physical DiscEST/VODOnlineSubscriptionPay TVEvery daySeveral times a weekOnce a week2-3 times a mo

134、nth or lessNever2021 Share of Population Viewing TV Shows/Series by Home/Mobile Distribution Channel344%6%22%22%8%8%25%21%7%7%11%11%29%27%22%24%52%52%20%22%0%20%40%60%80%100%Physical DiscEST/VODOnline SubscriptionPay TVEvery daySeveral times a weekOnce a week2-3 times a month or lessNever33In the 20

135、20 survey, a question was added to measure how many users of EST/VOD viewed a movie via Premium VOD (PVOD). 34Pay TV includes regular television services (broadcast, cable and satellite), premium channels and pay-per-view through those services.Home/mobile viewers reported that they increased viewin

136、g via all methods during the COVID-19 pandemic period. The largest number, more than half of adults (53%), reported that their viewing of movies or shows/series via online subscription services increased over the period of the COVID-19 pandemic, with a net increase of 45 percent when accounting for

137、those who reported a decrease in viewing. Pay TV also had a net increase in viewing of 30 percent (42% reported an increase), followed by EST/VOD (15% net increase) and physical disc (1% net increase).Home/Mobile Viewing: COVID-19 ImpactPage 282021 THEME Report | Home/Mobile Viewing: COVID-19 Impact

138、Increase in Home/Mobile Adult Viewing Over the COVID-19 Pandemic Period(% of all adults 18+)9%13%31%20%13%17%22%22%0%10%20%30%40%50%60%Physical DiscEST/VODOnline SubscriptionPay TVIncreased a lotIncreased a little*Percentage represents the difference between those who said viewing increased a lot or

139、 a little and those who said viewing decreased a lot or a little.+30%*+45%*+15%*+1%*Home/Mobile Viewing Demographics: All ViewersPage 292021 THEME Report | Home/Mobile Viewing Demographics: All ViewersIn 2021, the gender composition of home/mobile viewers of all frequencies was generally similar to

140、the population, although physical disc adult viewers skewed slightly more toward men. 53%50%48%49%48%47%50%52%51%52%0%25%50%75%100%Physical DiscEST/VODOnline SubscriptionPay TVPopulationMaleFemale2021 Gender Share of Adult Population and Home/Mobile ViewersIn 2021, the age group representation of vi

141、ewers of traditional TV services was the same as the population. The 25-39 age group was overrepresented in terms of viewers in the distribution channels of EST/VOD (36%), online subscriptions (30%), and physical discs (32%), relative to their share of the population (26%), similar to 2020. 2021 Age

142、 Group Share of Adult Population and Home/Mobile Viewers13%15%13%11%11%32%36%30%26%26%18%19%17%16%16%15%13%15%16%16%22%17%25%31%31%0%10%20%30%40%50%60%70%80%90%100%Physical DiscEST/VODOnline SubscriptionPay TVPopulation18-2425-3940-4950-5960+In 2021, the Hispanic/Latino category was overrepresented

143、in terms of reported EST/VOD (20%) viewing relative to their share of the adult population (17%). All shares were similar to those in 2020.62%59%60%62%63%11%13%13%12%12%19%20%18%18%17%5%6%6%6%6%3%2%3%2%2%0%10%20%30%40%50%60%70%80%90%100%Physical DiscEST/VODOnline SubscriptionPay TVPopulationCaucasia

144、n/WhiteAfrican-American/BlackHispanic/LatinoAsianOther2021 Ethnicity Share of Adult Population and Home/Mobile ViewersHome/Mobile Viewing Demographics: Trends in All ViewersPage 302021 THEME Report | Home/Mobile Viewing Demographics: Trends in All ViewersIn 2021, the gender composition of all home/m

145、obile viewers was the same as the population composition, consistent with 2020. Trend in Gender Share of All Home/Mobile Viewers3548%52%48%52%48%52%48%52%0%20%40%60%MaleFemale20021The age group representation of all home/mobile viewers has remained relatively consistent since 2018.Trend i

146、n Age Group Share of All Home/Mobile Viewers3512%27%16%17%28%12%27%16%17%28%12%27%15%17%29%11%27%16%16%30%0%5%10%15%20%25%30%35%18-2425-3940-4950-5960+20021In 2021, the share of all home/mobile viewers by ethnicity was consistent with previous years.Trend in Ethnicity Share of All Home/Mo

147、bile Viewers3564%12%16%6%2%63%12%17%6%2%63%12%17%6%2%62%12%17%6%3%0%10%20%30%40%50%60%70%Caucasian/WhiteAfrican-American/BlackHispanic/LatinoAsianOther20021Home/Mobile Viewing Demographics: Daily ViewersPage 312021 THEME Report | Home/Mobile Viewing Demographics: Daily Viewers36Home/mobil

148、e viewers on this page refers to the net movie or show/series viewers via any of the following channels: Pay TV, online subscription, EST/VOD or physical discs. Focusing on daily viewers, in 2021, the gender composition of online subscription viewers who watch daily skewed slightly female relative t

149、o the population, while the small group of EST/VOD and physical disc daily viewers skewed more male, relative to the population and similar to 2020. 2021 Gender Share of Adult Population and Daily Home/Mobile Viewers3658%54%46%47%48%42%46%54%53%52%0%25%50%75%100%Physical DiscEST/VODOnline Subscripti

150、onPay TVPopulationMaleFemaleIn 2021, the 25-39 age group was heavily overrepresented in terms of daily viewers to online subscription, EST/VOD, and physical disc distribution channels, similar to 2020. 2021 Age Group Share of Adult Population and Daily Home/Mobile Viewers36In 2021, the Hispanic/Lati

151、no category was overrepresented in the population of daily viewers in the distribution channels of physical discs (29%), EST/VOD (27%), and online subscriptions (24%) relative to their share of the population (17%), similar to 2020. The African-American/Black category was overrepresented in the EST/

152、VOD distribution channel (20%) and physical discs (18%) relative to their share of the population (12%), similar to 2020.2021 Ethnicity Share of Adult Population and Daily Home/Mobile Viewers3620%23%16%8%11%49%48%39%24%26%17%18%19%16%16%8%6%12%18%16%6%5%14%34%31%0%10%20%30%40%50%60%70%80%90%100%Phys

153、ical DiscEST/VODOnline SubscriptionPay TVPopulation18-2425-3940-4950-5960+48%47%52%61%63%18%20%15%15%12%29%27%24%18%17%3%4%6%4%6%2%2%3%2%2%0%10%20%30%40%50%60%70%80%90%100%Physical DiscEST/VODOnline SubscriptionPay TVPopulationCaucasian/WhiteAfrican-American/BlackHispanic/LatinoAsianOtherHome/Mobile

154、 Viewing Demographics: Trends in Daily ViewersPage 322021 THEME Report | Home/Mobile Viewing Demographics: Trends in Daily ViewersIn 2021, the gender composition of daily viewers of any home/mobile entertainment viewing method is similar to the composition of the overall population. 46%54%47%53%47%5

155、3%46%54%0%20%40%60%MaleFemale20021Trend in Gender Share of Daily Home/Mobile Viewers37In 2021, the 25-39 age group had the largest share of daily home/mobile viewers, similar to prior years, followed by the 60+ age group. 10%29%16%17%28%11%28%17%17%27%11%29%17%17%26%12%30%17%15%26%0%5%10%

156、15%20%25%30%35%18-2425-3940-4950-5960+20021The Caucasian/White share of daily home/mobile viewers has decreased seven percentage points since 2018, while the shares of other ethnicity categories have increased.Trend in Ethnicity Share of Daily Home/Mobile Viewers3737Home/mobile viewers on

157、 this page refers to the net movie or show/series viewers via any of the following channels: Pay TV, online subscription, EST/VOD or physical discs. Trend in Age Group Share of Daily Home/Mobile Viewers3765%12%17%4%2%63%13%17%4%3%61%13%18%5%3%58%14%20%5%3%0%10%20%30%40%50%60%70%Caucasian/WhiteAfrica

158、n-American/BlackHispanic/LatinoAsianOther20021Frequency of Mobile Viewing: All Adults and ChildrenPage 332021 THEME Report | Frequency of Mobile Viewing: All Adults and ChildrenMore than 85 percent of U.S. children (ages 2-17) watch full-length shows/series or movies on a mobile device, s

159、imilar to 2020. Eighteen percent use a mobile device to view shows/series or movies daily. The highest proportion of children (28%) watch movies or shows/series on mobile devices several times a week.Sixty percent of U.S. adults watch full-length shows/series and 57 percent watch movies on a mobile

160、device, similar to 2020. The percentage of adults who use a mobile device to watch shows/series daily is 10 percent. The highest proportion of adults never watch on a mobile device while those who watch are most likely to do so 2-3 times a month or less, similar to 2020.2021 Children Mobile Viewing

161、Frequency18%28%14%26%14%0%10%20%30%40%50%60%70%80%90%100%TV shows or moviesEvery daySeveral times a weekOnce a week2-3 times a month or lessNever2021 Adult Mobile Viewing Frequency9%10%12%15%9%8%27%27%43%40%0%10%20%30%40%50%60%70%80%90%100%Full-length moviesFull-length TV showsEvery daySeveral times

162、 a weekOnce a week2-3 times a month or lessNeverMobile Viewing DemographicsPage 342021 THEME Report | Mobile Viewing DemographicsIn 2021, the gender composition of viewers via a mobile device skewed slightly toward men compared to the total population, similar to in 2020. 51%50%49%49%50%51%0%10%20%3

163、0%40%50%60%70%80%90%100%Daily Mobile ViewersMobile ViewersPopulationMaleFemale2021 Gender Share of Population, Mobile Viewers, and Daily Mobile ViewersIn 2021, the 2-11, 12-17, 18-24, and 25-39 age groups were all overrepresented in terms of mobile viewers and daily mobile viewers relative to their

164、share of the total population. 2021 Age Group Share of Population, Mobile Viewers, and Daily Viewers16%16%13%10%10%8%16%12%9%34%27%21%12%14%13%7%10%12%5%11%24%0%10%20%30%40%50%60%70%80%90%100%Daily Mobile ViewersMobile ViewersPopulation2-1112-1718-2425-3940-4950-5960+In 2021, the Hispanic/Latino (29

165、%) and African-American/Black (18%) categories were overrepresented in terms of daily show/series or movie viewers via a mobile device relative to their share of the total population (19% and 12%, respectively), similar to 2020. 2021 Ethnicity Share of Population, Mobile Viewers, and Daily Viewers46

166、%53%60%18%15%12%29%23%19%3%6%6%4%3%3%0%10%20%30%40%50%60%70%80%90%100%Daily Mobile ViewersMobile ViewersPopulationCaucasian/WhiteAfrican-American/BlackHispanic/LatinoAsianOtherTrends in Mobile ViewingPage 352021 THEME Report | Trends in Mobile ViewingIn 2021, the gender composition of show/series or

167、 movie viewers via a mobile device was an even split, similar to 2020. 50%50%51%49%50%50%0%10%20%30%40%50%60%MaleFemale201920202021Trend in Gender Share of Mobile ViewersIn 2021, the share of mobile viewers by age group remained relatively consistent compared to 2020. 16%10%12%25%13%12%11%16%10%12%2

168、6%13%11%12%16%10%12%27%14%10%11%0%5%10%15%20%25%30%2-1112-1718-2425-3940-4950-5960+201920202021Trend in Age Group Share of Mobile ViewersThe share of mobile viewers by ethnicity also remained relatively consistent compared to 2020.Trend in Ethnicity Share of Mobile Viewers53%14%22%7%4%54%14%22%7%3%5

169、3%15%23%6%3%0%10%20%30%40%50%60%Caucasian/WhiteAfrican-American/BlackHispanic/LatinoAsianOther201920202021In 2021, the gender composition of daily show/series or movie viewers remained the same as in 2020. Trends in Daily Mobile ViewingPage 362021 THEME Report | Trends in Daily Mobile ViewingTrend i

170、n Gender Share of Daily Mobile ViewersTrend in Age Group Share of Daily Mobile ViewersTrend in Ethnicity Share of Daily Mobile Viewers51%49%51%49%51%49%0%20%40%60%MaleFemale201920202021In 2021, the share of daily mobile viewers increased five percentage points among the 25-39 group compared to 2020.

171、 The share also increased three percentage points among the 18-24 age group.15%10%15%27%13%10%10%16%11%13%29%14%9%8%16%10%16%34%12%7%5%0%10%20%30%40%2-1112-1718-2425-3940-4950-5960+201920202021The Hispanic/Latino category share of daily mobile viewers increased four percentage points in 2021.46%19%2

172、7%5%3%49%17%25%5%4%46%18%29%3%4%0%10%20%30%40%50%60%Caucasian/WhiteAfrican-American/BlackHispanic/LatinoAsianOther201920202021$11.1$11.9$11.4$2.2$4.5$29.8$29.9$30.9$9.6$16.8$0$5$10$15$20$25$30$35$40$45200202021InternationalU.S./Canada(73%)$41.8$11.8$21.3(73%)(81%)Global Box OfficePage 382

173、021 THEME Report | Global Box OfficeThe global box office market for all films released in each country around the world38was $21.3 billion in 2021, up 81 percent compared to 2020, due to theater re-openings following the COVID-19 pandemic lockdowns, but remained below pre-pandemic levels. The inter

174、national box office market ($16.8 billion) increased 76 percent, while the U.S./Canada box office market ($4.5 billion) increased 105 percent compared to 2020. The international box office market accounted for 79 percent of the total box office market in 2021.Global Box Office Market All Films (US$

175、Billions)Source: Comscore, Omdia (International), MPA sources200202021% Change3921 vs. 20% Change3921 vs. 17U.S./Canada40$11.1$11.9$11.4$2.2$4.5105%-59%International41$29.8$29.9$30.9$9.6$16.876%-44%Total$40.9$41.8$42.3$11.8$21.381%-48%38 Values in the report reflect all films released, re

176、gardless of distributor or country of origin, except where specified as a subset.39 Percentage change and international share (above) are calculated using values before rounding. 40 Source: Comscore Box Office Essentials, calendar year from January 1-December 31.41International box office excludes U

177、.S./Canada throughout this report. MPA calculates international box office country-by-country based on a variety of data sources. Previous years estimates may be updated based on changes made by sources.$40.9$42.3(72%)(79%)International Box OfficePage 392021 THEME Report | International Box OfficeTh

178、e Europe, Middle East & Africa (EMEA) box office market increased 53 percent in U.S. dollars over 2020. This was driven by increases in the U.K. & Ireland (93%), Russia (78%), and France (56%).The Asia Pacific box office market ($10.9 billion) increased 89 percent in U.S. dollars compared to 2020. T

179、his was mostly driven by Chinas $4.4 billion increase from 2020.Latin Americas box office market increased 72 percent in U.S. dollars in 2021, driven by a 104 percent increase in Mexico and a 17 percent increase in Brazil.International Box Office Market by Region All Films (US$ Billions)42Source: Co

180、mscore, Omdia, MPA sources200202021% Change4321 vs. 20% Change4321 vs. 17Europe, Middle East & Africa$10.2$10.1$10.3$3.3$5.053%-51%Asia Pacific$16.2$17.1$17.8$5.8$10.989%-32%Latin America$3.4$2.7$2.8$0.5$0.972%-75%Total$29.8$29.9$30.9$9.6$16.876%-44%42 Box office data is in U.S. dollars f

181、or analytical and comparative purposes. Previous years estimates may be updated based on changes made by sources. Note that local currency box office trends may differ due to exchange rate fluctuations.43 Percentage change is calculated using table values before rounding.$10.2$10.1$10.3$3.3$5.0$16.2

182、$17.1$17.8$5.8$10.9$3.4$2.7$2.8$0.5$0.9$0$2$4$6$8$10$12$14$16$18$20200202021EMEAAsia PacificLatin AmericaTop International Box Office MarketsPage 402021 THEME Report | Top International Box Office MarketsPercentage of Cinema Screens Closed by Region, By Week in 202144Source: OmdiaYear-end

183、 comparisons between country box office totals during the COVID-19 pandemic are challenging as each countrys box office was affected by the pandemic, and each markets reactions varied in timing and degree. Each countrys cinemas closed and re-opened (in some cases more than once) on different schedul

184、es, and some countries local releases were postponed while others were not. The graph below provides a high-level view by region of the estimated percentage of screens that were closed by week. The view shows that after mid-2020, Asia theaters remained mostly open through the first half of 2021, whi

185、le Europe and North America re-closed in late 2020. The majority of theaters in all regions were open by mid-2021, but capacity restrictions and other requirements may have remained in place.44Omdia, “COVID-19 Impact on Cinema Activity February 2022.”45China box office total includes online ticketin

186、g fees. The China box office total excluding ticketing fees is no longer made available.1.China45$7.311. Spain$0.32.Japan$1.512. Italy$0.23.U.K.$0.813. Taiwan$0.24.France$0.814. Netherlands$0.25.Russia$0.615. Hong Kong$0.26.South Korea$0.516. Brazil$0.27.India$0.517. UAE$0.18.Australia$0.518. Poland

187、$0.19.Germany$0.419. Denmark$0.110.Mexico$0.420. Switzerland$0.12021 Top 20 International Box Office Markets All Films (US$ Billions)Source: OmdiaTaking into account the caveats regarding comparisons, the top three box office markets outside the U.S./Canada in 2021 were China ($7.3 billion, includin

188、g online ticketing fees), Japan ($1.5 billion), and U.K. ($0.8 billion). Chinas box office total surpassed the U.S./Canada total in 2021 for the second time, with the majority of Chinese theaters staying open through 2021. 0%10%20%30%40%50%60%70%80%90%100%Week of 10/02/20Week of 24/02/20Week of 09/0

189、3/20Week of 23/03/20Week of 06/04/20Week of 20/04/20Week of 04/05/20Week of 18/05/20Week of 01/06/20Week of 15/06/20Week of 29/06/20Week of 13/07/20Week of 27/07/20Week of 10/08/20Week of 24/08/20Week of 07/09/20Week of 21/09/20Week of 05/10/20Week of 19/10/20Week of 02/11/20Week of 16/11/20Week of

190、30/11/20Week of 14/12/20Week of 28/12/20Week of 11/01/21Week of 25/01/21Week of 08/02/21Week of 22/02/21Week of 08/03/21Week of 22/03/21Week of 05/04/21Week of 19/04/21Week of 03/05/21Week of 17/05/21Week of 31/05/21Week of 14/06/21Week of 28/06/21Week of 12/07/21Week of 26/07/21Week of 09/08/21Week

191、 of 23/08/21Week of 06/09/21Week of 20/09/21Week of 04/10/21Week of 18/10/21Week of 01/11/21Week of 15/11/21Week of 29/11/21Week of 13/12/21Week of 27/12/21Feb MarApr MayJunJulAugSepOctNovDecJanFebMarAprMayJunJulAugSepOctNovDecJan202020212022Asia PacificCentral & Eastern EuropeCentral and South Amer

192、icaMiddle East and AfricaNorth AmericaWestern Europe$32.5$35.0$35.8$11.1$19.9$8.4$6.8$6.5$0.7$1.4$0$5$10$15$20$25$30$35$40$45200202021Global 2DGlobal 3DGlobal 3D Box OfficePage 412021 THEME Report | Global 3D Box OfficeOf the total global box office market in 2021, 3D technology represent

193、ed seven percent, up one percentage point compared to 2020. The global 3D box office market totaled $1.4 billion in 2021, an increase of 112 percent compared to 2020. Global 3D Box Office Market All Films (US$ Billions)46Source: Omdia, MPA sources(21%)(16%)(15%)(6%)(7%)$40.9$41.8$42.3$11.8$21.320172

194、0021% Change4721 vs. 20% Change4721 vs. 17Global 2D$32.5$35.0$35.8$11.1$19.979%-39%Global 3D$8.4$6.8$6.5$0.7$1.4112%-83%Total$40.9$41.8$42.3$11.8$21.381%-48%46Box office data is in U.S. dollars for analytical and comparative purposes. Previous years estimates may be updated based on chang

195、es made by sources. Local currency box office trends may differ due to exchange rate fluctuations.47Percentage change and share of total box office is calculated using table values before rounding. 1,764 562 4,509 465 27,17623,69722,0878,72214,70621,29784,3935,959020,00040,00060,00080,000100,000120,

196、000U.S./CanadaEMEAAsia PacificLatin AmericaUnclassifiedDigital Non 3DDigital 3DGlobal Cinema ScreensPage 422021 THEME Report | Global Cinema ScreensTotal cinema screens increased four percent globally in 2021, due to a seven percent increase in the Asia Pacific region. 43,21643,45943,67942,62341,882

197、126,239138,807152,134158,358166,155020,00040,00060,00080,000100,000120,000140,000160,000180,000200,000220,000200202021InternationalU.S./Canada122%2021 Global Cinema Screens by Format and Region48Source: OmdiaGlobal Digital ScreensSource: Omdia48 2021 total screens figures are estimates as

198、 of February 2022. Previous years estimates may be updated based on changes made by source.49 Omdia screens data collection has been affected by pandemic theater closures, which have impacted classification of screens in 2020 and 2021. The “Unclassified” category includes all screens that were not a

199、ble to be classified as digital.169,455208,037182,266195,813200,981(74%)(76%)(78%)(79%)(80%)43,64645,556110,98915,14649Global 3D Cinema ScreensPage 432021 THEME Report | Global 3D Cinema ScreensThe number of digital 3D screens around the world surpassed 126,000 in 2021, an increase of five percent c

200、ompared to 2020. They account for 61 percent of all digital screens globally. The Asia Pacific region had an eight percent increase in the number of digital 3D screens in 2021. Asia Pacific continues to have the highest ratio of 3D digital screens to digital screens more than three out of four digit

201、al screens in Asia Pacific are 3D.The number of digital 3D screens in U.S./Canada decreased for the fourth straight year, with a three percent decrease compared to 2020.Global Digital 3D Screens50Source: Omdia2002020212021 % of digitalU.S./Canada16,97816,97216,58615,08914,70635%EMEA19,159

202、20,71120,88420,71321,29747%Asia Pacific51,66162,93773,21578,42384,39379%Latin America5,6195,8186,0716,0595,95941%Total93,417106,438116,756120,284126,35561% change vs. previous year13%14%10%3%5%50 Previous years estimates may be updated based on changes made by source.U.S./Canada Box Office & Admissi

203、onsPage 452021 THEME Report | U.S./Canada Box Office & AdmissionsIn 2021, the U.S./Canada box office market was $4.5 billion, up 105 percent from $2.2 billion in 2020.51However, it remained below pre-pandemic levels. Admissions, or tickets sold (0.47 billion), were up 100 percent compared to 2020. U

204、.S./Canada Box Office Market (US$ Billions) Source: Comscore Box Office Essentials$10.8$10.9$10.4$11.1$11.4$11.1$11.9$11.4$2.2$4.5$0$2$4$6$8$10$000202021% Chg. 21 vs. 20U.S./Can. box office (US$B)$10.8$10.9$10.4$11.1$11.4$11.1$11.9$11.4$2.2$4.5105%1.361.341.271.321.3

205、21.241.301.240.240.470.01.02.03.04.05.06.00.000.200.400.600.801.001.201.401.601.802000021Admissions per capitaAdmissions (Billions)Admissions (Billions)Admissions per capita2000021% Chg. 21 vs. 20U.S./Can. admissions (Billions)521.361

206、.341.271.321.321.241.301.240.240.47100%U.S./Can. admissions per capita534.14.03.73.83.83.63.73.50.71.391%51Percentage change is calculated using table values before rounding.52Admissions is calculated using Comscore Box Office Essentials calendar year box office data, and National Association of The

207、atre Owners (NATO) average annual ticket price. For 2021, ticket price ($9.57) was calculated based on the average annual change in ticket price over the past five years.53Admissions per capita is calculated using aggregated U.S. Census Bureau and Statistics Canada data for population aged 2+.Films

208、Rated & ReleasedPage 462021 THEME Report | Films Rated & ReleasedIn 2021, the Motion Picture Associations Classification and Ratings Administration (CARA) rated 498 films (including non-theatrical films), a similar amount to 2020. The number of MPA member films rated was 185 (37%) in 2021, while the

209、 number of non-MPA member films rated was 313 (63%). Film Ratings54Source: CARAThe number of films released in theaters in U.S./Canada was 387 in 2021, up 14 percent from 2020, but below pre-pandemic levels. Non-MPA affiliated independent companies continue to release the most films domestically (29

210、1), and were up five percent compared to 2020. MPA member films released domestically (96) were up 60 percent compared to 2020.Films Released56Source: Comscore Box Office Essentials (Total), MPA (Subtotals)2000021Films released69038387- New feat

211、ure films57672669749735767775738860319370- Re-releases57956671012- Non-feature films57095- Large format releases23282730333849421118- 3D film releases394342354540333339- 3D wide release films3335339MPA member total746096- MPA studios948499100102

212、8692833458- MPA studio subsidiaries34303647424436412638Non-members56356762960865774273486327829154Note that films may be rated or re-rated months or even years after production. Includes non-theatrical films.55MPA members include: Walt Disney Studios Motion Pictures, Netflix, Inc., Paramount Picture

213、s Corporation, Sony Pictures Entertainment, Inc., Universal City Studios LLC, and Warner Bros. Entertainment Inc. Netflix included as an MPA member as of 2019 therefore, comparisons are not feasible.56Source: Comscore Box Office Essentials. Includes all titles that opened and earned any studio repor

214、ted U.S./Canada box office in the year. Historical data is regularly updated by Comscore. 57New feature films includes films released domestically for the first time, while re-releases includes any film released for the first time in previous years including anniversary releases and double-features.

215、 Non-feature films includes Oscar shorts, TV shows, and event showings.Films ProducedPage 472021 THEME Report | Films ProducedIn 2021, the estimated number of U.S. films that entered into production was 943, an increase of 111 percent compared to 2020, when production was shut down due to the COVID-

216、19 pandemic. Of these films, 226 films had an estimated budget greater than $15 million, a 124 percent increase compared to 2020 and a 40 percent increase compared to 2017. In 2021, 202 MPA member studio films entered into production, a 135 percent increase compared 2020, while 741 non-MPA member st

217、udio films entered into production, a 105 percent increase compared to 2020. Feature Films Entering Production5820020202159% Change 21 vs. 2060Films produced (est. $15M+ budget)1226124%Films produced (est. $1M-$15M budget)38740542324047093%Films produced (est. $1M budget)263232

218、2%Total films (all budgets)8943111%MPA member sub-total202135%Non-MPA member sub-total7047005%58 These figures reflect full-length feature films in the English language that began production in the reported year, by a U.S. production company (including co-

219、productions). The counts include films that were made for or by an online video service, but do not include student films, documentaries, films created for straight-to-DVD or Blu-ray release. The number for lower-budget films is variable and more difficult to track. Budgets are estimated from public

220、ly available information. In the interest of accuracy, MPA compiles data from a wide range of sources. 59Data is provisional as of February 2021. Figures may be revised as more information becomes available. Netflix was added as a member in the 2019 count, past years include MPA member studios at th

221、at time.60 Percentage change is calculated using table values before rounding.Top 25 FilmsPage 482021 THEME Report | Top 25 FilmsFilms with an PG-13 rating comprised 14 of the top 25 films in release during 2021, more than any other rating, and up from 2020 (8). In 2021, the top 25 films accounted f

222、or 71 percent of the total box office market, down from 75 percent in 2020. Top 25 Films by U.S./Canada Box Office Market in 2021Source: Comscore Box Office Essentials, CARA (Rating)RankTitleDistributorBox Office (US$ MM)Rating3D1Spider-Man: No Way Home*Sony573.0PG132Shang-Chi and the Legend of the

223、Ten RingsDisney224.5PG133Venom: Let There Be CarnageSony212.6PG134Black WidowDisney183.7PG135F9: The Fast SagaUniversal173.0PG136EternalsDisney164.6PG137No Time To DieUnited Artists Releasing160.8PG138Quiet Place Part II, AParamount160.2PG139Ghostbusters: AfterlifeSony122.4PG1310Free Guy20th Century

224、 Studios121.6PG1311Jungle CruiseDisney117.0PG1312DuneWarner Bros.107.2PG1313Godzilla vs. KongWarner Bros.100.9PG1314Halloween KillsUniversal92.0R15EncantoDisney90.6PG16CruellaDisney86.1PG1317Sing 2*Universal76.5PG18Space Jam: A New LegacyWarner Bros.70.6PG19Conjuring: The Devil Made Me Do It, TheWar

225、ner Bros.65.6R20CandymanUniversal61.2R21Boss Baby: Family Business, TheUniversal57.3PG22Addams Family 2, TheUnited Artists Releasing56.5PG23Suicide Squad, TheWarner Bros.55.8R24Raya And The Last DragonDisney54.7PG25Demon Slayer the Movie: Mugen TrainFUNimation Films49.4R* Film still in theaters in 2

226、022; total reflects box office earned from Jan. 1 Dec. 31, 2021Top Film Demographics by GenderPage 492021 THEME Report | Top Film Demographics by GenderComscore and Screen Engine/ASIs PostTrak collects domestic survey data for all films in release in at least 800 theaters, which links box office gro

227、sses to gender and ethnicity of attendees. The surveys are conducted during the first two weeks of a films wide release.61The top five films of 2021 attracted majority male audiences, with F9: The Fast Saga (67%), Venom: Let There Be Carnage (60%), Spider-Man: No Way Home (59%) and Shang-Chi and the

228、 Legend of the Ten Rings (57%) skewing more male relative to the survey average (56%).2021 Gender Share of Top Grossing Films62Source: Comscore/Screen Engine/ASI56%67%55%60%57%59%45%41%45%40%43%41%0%20%40%60%80%100%Survey AverageF9: The Fast SagaBlack WidowVenom: Let There Be CarnageShang-Chi and th

229、e Legend of the Ten RingsSpider-Man: No Way HomeMaleFemale61More details about PostTraks methodology can be found in the Appendix. 62Percentage values in table may not sum to 100 percent due to rounding.Top Film Demographics by EthnicityPage 502021 THEME Report | Top Film Demographics by EthnicityAc

230、cording to Comscore and Screen Engine/ASIs PostTrak, among the top grossing films, F9: The Fast Saga drew the most ethnically diverse audience, followed by Spider-Man: No Way Home.The audience of F9: The Fast Saga was 37 percent Hispanic/Latino, nine percentage points higher than the survey average.

231、45%37%52%43%42%39%28%37%26%31%20%28%15%17%13%15%15%16%9%7%6%7%19%12%4%3%3%4%5%6%0%20%40%60%80%100%Survey AverageF9: The Fast SagaBlack WidowVenom: Let There Be CarnageShang-Chi and the Legend of the Ten RingsSpider-Man: No Way HomeCaucasian/WhiteHispanic/LatinoAfrican-American/BlackAsian/Pacific Isl

232、anderNative American/Other2021 Ethnicity Share of Top Grossing Films63Source: Comscore/Screen Engine/ASI63Percentage values in table may not sum to 100 percent due to rounding.U.S. Cinema ScreensPage 512021 THEME Report | U.S. Cinema ScreensThe number of screens in the United States decreased one pe

233、rcent in 2021 compared to 2020. Digital non-3D screens account for 63% of all screens, the same as 2020. U.S. Screens by Type64Source: Omdia64 Previous years estimates may be updated based on changes made by source65 Omdia screens data collection has been affected by pandemic theater closures which

234、have impacted classification of screens in 2020 and 2021. The “Unclassified” category includes all screens that were not able to be classified as digital. 284 520 604 1,430 1,706 24,579 24,806 25,432 25,916 25,580 15,530 15,511 15,136 13,652 13,292 - 5,000 10,000 15,000 20,000 25,000 30,000 35,000 4

235、0,000 45,000200202021UnclassifiedDigital non-3DDigital 3D40,39340,83741,17240,99840,57865Non-moviegoers, 53%Infrequent, 12%Occasional, 32%Frequent, 3%Theatrical Attendance DemographicsPage 532021 THEME Report | Theatrical Attendance DemographicsJust under half (47%) of the U.S./Canada pop

236、ulation aged two or older, or 168 million people, went to a movie at the cinema at least once in 2021 (“moviegoer”). The percentage was about the same as 2020 and down from pre-pandemic levels (76 percent of the population). The typical moviegoer bought 2.8 tickets per year in 2021, up from 1.5 tick

237、ets in 2020.2021 Demographic Summary66U.S./Canada Populationages 2+ (356.2M)U.S./Canada AdmissionsIn 2021, only three percent of the U.S./Canada population were frequent moviegoers who attended the cinema once a month or more, the same as 2020 and down from 2019 (11%). These individuals were respons

238、ible for 34 percent of all tickets sold. More than half (60%) of tickets sold were to occasional moviegoers (32% of the population) while the other six percent were sold to infrequent moviegoers (12% of the population). More than half of the population did not attend the cinema in 2021 (53%).2021 Mo

239、viegoer Share of Population and Tickets SoldU.S./Canada Populationages 2+U.S./Canada Tickets SoldInfrequent, 6%Occasional, 60%Frequent, 34%Frequency definitions:Frequent: Once a month or moreOccasional: Less than once a monthInfrequent: Once in 12 months66MPAs analysis of attendance demographics is

240、based on survey research and attendance projections by ENGINE. See Appendix for details. Surveying is conducted in the United States only, so the results assume the demographic composition of the U.S./Canada combined population is similar to U.S. only. In the 2017 survey, the methodology was changed

241、 to online survey only, so comparisons prior to 2017 are not feasible.The gender composition of moviegoers (people who went to a movie at the cinema at least once in the year) and number of tickets sold skewed toward men in 2021 relative to the population share.Theatrical Demographic SharesPage 5420

242、21 THEME Report | Theatrical Demographic Shares2021 Gender Share of Total Population, Moviegoers, and Tickets Sold41%47%51%59%53%49%0%25%50%75%100%Tickets soldMoviegoersPopulationFemaleMaleIn 2021, the 12-17 (14%), 18-24 (14%) and 25-39 (29%) age groups were overrepresented in terms of tickets sold

243、relative to their share of the population, with a decrease in the share of tickets sold to the 50+ age group.2021 Age Group Share of Total Population, Moviegoers, and Tickets SoldIn 2021, the Hispanic/Latino category was overrepresented in share of moviegoers (24%) and movie tickets purchased (23%).

244、2021 Ethnicity Share of Total Population, Moviegoers, and Tickets Sold14%16%13%14%12%8%14%14%9%29%26%21%13%13%13%7%9%12%9%10%24%0%20%40%60%80%100%Tickets soldMoviegoersPopulation2-1112-1718-2425-3940-4950-5960+57%54%60%12%13%12%23%24%19%5%6%6%3%3%3%0%10%20%30%40%50%60%70%80%90%100%Tickets soldMovieg

245、oersPopulationCaucasian/WhiteAfrican-American/BlackHispanic/LatinoAsianOtherIn 2021, per capita annual movie attendance (tickets sold per person) increased for both females (1.1) and males (1.6) against 2020.Theatrical Per Capita AttendancePage 552021 THEME Report | Theatrical Per Capita AttendanceP

246、er Capita Attendance by Gender3.43.73.54.03.23.90.60.81.11.60.01.02.03.04.05.0FemaleMale200202021In 2021, only the 12-17 age group (2.5 times) had a per capita attendance over 2.0. All age groups increased their per capita attendance in 2021 compared to 2020.Per Capita Attendance by Age2.

247、94.94.74.43.63.02.53.05.15.14.34.33.22.52.94.94.74.24.22.92.30.81.10.90.90.70.50.31.52.52.01.91.40.70.50.01.02.03.04.05.06.02-1112-1718-2425-3940-4950-5960+200202021The per capita attendance of all ethnicity categories increased in 2021 when compared to 2020. The Hispanic/Latino category

248、had the highest per capita attendance in 2021, going to the cinema an average of 1.7 times in the year. Per Capita Attendance by Ethnicity3.23.44.54.34.23.33.74.74.54.03.23.24.74.13.40.50.71.00.70.51.31.31.71.01.10.01.02.03.04.05.0Caucasian/ WhiteAfrican-American/BlackHispanic/ LatinoAsianOther20172

249、0021Section Title (Montserrat Bold, 16 pt.)Glossary of TermsPage 572021 THEME Report | Glossary of TermsTHEME Report: Glossary of TermsDemographic Survey MethodologyPage 582021 THEME Report | Demographic Survey MethodologyAttendance Demographics Study MethodologySurvey researchThe Motion

250、Picture Association (MPA) commissioned ENGINE (formerly ORC International) to study motion picture cinema attendance in the United States. A survey was conducted among a representative sample of 8,074 adults, comprising 4,030 men and 4,044 women, 18 years of age and older living in the United States

251、. Interviewing was conducted beginning January 3, 2022 and ending January 16, 2022 via eight consecutive waves of CARAVAN, ENGINEs national online omnibus survey. Respondents for the survey were selected from among those who have volunteered to participate in online surveys and polls. This year mark

252、s the fifth time interviewing was completed via an online methodology. In all waves of the study prior to 2018, interviews were conducted via a dual frame landline/cell phone telephone methodology. The transition to online was made due to the increasing difficulty of reaching respondents on the tele

253、phone. As a result, phone data collection has become more impractical for the purpose of measuring annual movie attendance and could potentially lead to less accuracy in the data results among smaller demographic groups.Due to the change in methodology and the differing demographic profiles of onlin

254、e versus telephone respondents, only comparisons to 2017, 2018, 2019, and 2020 have been made in this report.The survey collected data on the frequency of adult motion picture attendance in the prior calendar year (January December 2021). “Think back to January 2021about a year ago. During the 12-mo

255、nth period from January through December 2021, about how many times did you go to the movies at theaters? Please provide your best estimate.”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 frequ

256、ency of each childs motion picture attendance, as well as the childs age and gender. The following question was 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 a

257、ttended the movies in 2021, including all times they went with guardians or on their own. Again, please provide your best estimate. 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 2021?”In order to analyze the data for attendance leve

258、ls for the entire population two years of age and 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 childs data set, each child in the household is treated as a separate respondent. The

259、 childs age, gender and movie attendance are taken from the survey data provided by the parent. Each childs race/ethnicity is assumed to be the same as the parent, as is household information such as location and household income.Demographic Survey MethodologyPage 592021 THEME Report | Demographic S

260、urvey MethodologyOnce the two data sets are created, adult data is weighted by age, gender, region, race and education. The childrens 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 ad

261、ults match the overall population. The combined data usually demonstrates an overrepresentation of children vs. adults, as it does in 2022. In that case, the childs data is then re-weighted if necessary so that the ending proportions of children to adults corresponds to the actual population ratios.

262、 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.ENGINE weights data using a raking algorithm based on the demographics listed above to correct for differences between the survey sample and the target

263、 population. Our assertion is that weighted estimates are approximately unbiased. Estimated error ranges adjusted for the weighting design effect are located on page 65 of this document. Note: No analysis was conducted to validate the assertion of unbiased estimates.Attendance projectionsThe survey

264、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 MPA. Th

265、is 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 MPA by the attendance number derived from the survey data for each de

266、mographic 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.Demographic Survey Method

267、ologyPage 602021 THEME Report | Demographic Survey MethodologyMovie and show/series viewership across various channelsThe following two questions were added to the survey in 2019 to compare the frequency of full-length movie and show or series viewership across various channels. These questions are

268、also presented using adult data only, weighted by age, gender, region, race, and education.Now, please think about the different ways you watch movies and shows or series. These could be movies and shows or series that you watch on any type of device, such as on a TV, computer, phone, tablet, or oth

269、er device. In 2021, how frequently did you watch full-length movies in each of the following ways? Please only think of full-length movies and do not include any trailers, clips or adult content. Select one answer for each. Randomize A-F, always asking G lastSET UP AS GRID1.Every day2.Several times

270、a week3.Once a week4.2-3 times a month5.Once a month6.Several times a year7.Once a year8.NeverA.See at the cinemaB.Watch through your regular television service (broadcast, cable, or satellite service), including paid movie channels and pay per viewC.Watch online through a website or app that you pa

271、y a subscription for like Netflix, Amazon Prime Video, HBO Max, or Hulu, or that you have access to as part of your regular television subscription like Comcast Xfinity or Dish AnywhereD.Pay to download or rent online through a website or app where you pay per movie like Apple TV/iTunes, Amazon Vide

272、o, Google Play Movies, or VuduE.Watch on a Blu-ray or DVD disc that you bought or rented from an official retailer (please dont include secondhand discs or bootleg/burned discs or files)F.Watch via the YouTube site or app (again, just full-length movies)G.Watch or download online for free on a websi

273、te or app that is not an official source for the movieDemographic Survey MethodologyPage 612021 THEME Report | Demographic Survey MethodologyIn 2021, how frequently did you watch full-length shows or series in each of the following ways? Please only think of full-length episodes of shows, and not ot

274、her things like clips, sports, news, or adult content. Select one answer for each. Randomize A-E, always asking F-G lastSET UP AS GRID1.Every day2.Several times a week3.Once a week4.2-3 times a month5.Once a month6.Several times a year7.Once a year8.NeverA.Watch through your regular television servi

275、ce (broadcast, cable or satellite service), whether at the time they air, on demand, or recorded on a digital video recorder or DVRB.Watch online through a website or app that you pay a subscription for like Netflix, Amazon Prime Video, HBO Max, or Hulu, or that you log-in and have access to as part

276、 of your regular television subscription like Comcast Xfinity or Dish AnywhereC.Pay to download or rent online through a website or app where you pay per show like Apple TV/iTunes, Amazon Video, Google Play Movies, or VuduD.Watch on a Blu-ray or DVD disc that you bought or rented from an official re

277、tailer (please dont include secondhand discs or bootleg/burned discs or files)E.Watch via the YouTube site or app (again, just full-length shows)F.Watch for free on a catch up TV service or website that shows videos of advertising during the showG.Watch or download online for free, on a website or a

278、pp that is not an official website and doesnt show regular video ads during the showMovie and show/series viewership on a mobile deviceTwo questions were added to the survey in 2020 to measure the frequency of watching full-length movies and full-length shows or series on a mobile device, such as a

279、smartphone or tablet, among both adults and children. Demographic Survey MethodologyPage 622021 THEME Report | Demographic Survey MethodologyAnd how frequently did you watch the following on a mobile device, such as a smartphone or tablet, in 2021? Select one answer for eachSET UP AS GRID1.Every day

280、2.Several times a week3.Once a week4.2-3 times a month5.Once a month6.Several times a year7.Once a year8.NeverA.Full-length moviesB.Full-length shows or seriesAsked of those with children ages 2-17 in the householdNow, thinking of your child(ren) at least 2 but under 18, how frequently did your chil

281、d watch full-length movies and/or full-length shows or series on a mobile device, such as a smartphone or tablet, in 2021? Please just make your best estimate. Select one answer for eachSET UP AS GRID1.Every day2.Several times a week3.Once a week4.2-3 times a month5.Once a month6.Several times a yea

282、r7.Once a year8.NeverA.Oldest childB.Second oldest childC.Third oldest childD.Fourth oldest childE.Fifth oldest childF.Sixth oldest childG.Seventh oldest childDemographic Survey MethodologyPage 632021 THEME Report | Demographic Survey MethodologyPremium video-on-demand viewershipIn 2021, a question

283、was included in the survey to measure premium video-on-demand viewership among respondents who indicated they paid to rent full-length movies online. When you paid to rent full-length movies online in 2021, were any of them new movies that were not released in movie theaters, or were just newly rele

284、ased in movie theaters? This is also referred to as premium video-on-demand. Select one answer1.Yes2.NoDemographicsNote that the race/ethnicity questions in Online CARAVAN are asked as follows:Do you consider yourself to be of Hispanic/Spanish/Latino descent? Select one answer1.Yes2.NoWhat race do y

285、ou consider yourself? Select as many as apply1.White2.Black or African-American3.Native American or Alaska Native4.Asian5.OtherIf respondents answer “yes” to the first question, they are included in the Hispanic/Latino category, regardless of their answer to the second question. In the analysis stag

286、e, respondents who select multiple races are grouped in the Other analysis category.Demographic Survey MethodologyPage 642021 THEME Report | Demographic Survey MethodologyTable of Adjusted Sampling Error for Demographic SubgroupsSubgroupAdjusted* Error RangeAll adults+/- 1.2 percentage pointsChildre

287、n 2-17+/- 1.6 percentage pointsAges 2-11+/- 1.9 percentage pointsAges 12-17+/- 2.7 percentage pointsAges 18-24+/- 4.1 percentage pointsAges 25-39+/- 2.1 percentage pointsAges 40-49+/- 2.9 percentage pointsAges 50-59+/- 3.2 percentage pointsAges 60+/- 2.3 percentage pointsWhite, non-Hispanic+/- 1.2 p

288、ercentage pointsBlack, non-Hispanic+/- 3.0 percentage pointsAsian/Other, non-Hispanic+/- 3.2 percentage pointsHispanic (any race)+/- 2.6 percentage pointsAsian, non-Hispanic+/- 4.4 percentage pointsOther, non-Hispanic excluding Asian+/- 4.8 percentage points25K HH income+/- 2.5 percentage points25K-

289、50K HH income+/- 1.9 percentage points50K-75K HH income+/- 2.4 percentage points75K+ HH income+/- 1.4 percentage pointsMale+/- 1.3 percentage pointsFemale+/- 1.4 percentage points*Adjusted for weighting design effectTop Films Demographic MethodologyPage 652021 THEME Report | Top Films Demographic Me

290、thodologySurvey ResearchComscore and Screen Engine/ASIs 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

291、 includes all films playing in more than 800 theaters. In 2021, the 21 unique theater locations, sample sizes, and wide release definition may have been adjusted due to COVID-19 pandemic-related theater shutdowns and seating capacity changes.Sample sizes are as follows: 1st weekend For Family titles

292、, 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

293、of N=400. PostTrak collects data via mobile tablet, which is then entered into Comscores 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 t

294、hen applied to the collected data and 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/BlackAsian/Pacific Islander

295、Caucasian/WhiteHispanic/LatinoNative AmericanOther67All 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 er

296、ror, as well as coverage error and errors due to response rate. 67“Other” includes those who self-identify as a “mixed race or ethnicity” or “some other race.” For example, a persons ethnicity may be Hispanic, but they may also characterize themselves as a member of the Caucasian race. Consequently,

297、 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.Average Time Spent Per Day MethodologyPage 662021 THEME Report | Average Time Spent Per Day MethodologyAverage Time Spent per Day wit

298、h Major Media MethodologyEstimates by eMarketer on U.S. time spent with media involve the collection of third party data, primarily survey data with adult respondents, which asks them about their media use habits. Data is also sourced from online and mobile activity tracking services and government

299、data, as well as interviews with industry experts. This data is assessed and normalized to the eMarketer definition (i.e. 18+ U.S. population), and then aggregated to the baseline Average Time Spent with Media estimate. eMarketer also creates forecasted growth rates using their assessments of histor

300、ical and expected future growth patterns with regard to device adoption, multiple/overlapping device usage, population/demographic factors, and competitors to existing devices and activities in order to arrive at our forecasted growth rates by media and by device. The major media categories include:

301、 Desktop/laptop video: ages 18+; includes all time spent with online video activities on desktop and laptop computers, regardless of multitasking; includes both work and personal usageMobile video: ages 18+; includes all time spent viewing mobile video, regardless of multitaskingOther connected devi

302、ce video: ages 18+; includes all time spent with online video activities on other connected devices, regardless of multitasking; other connected devices include game consoles, connected TVs, or OTT devicesTV: ages 18+; includes live, DVR, and other prerecorded video (such as video downloaded from th

303、e internet but saved locally); includes all time spent watching TV, regardless of multitaskingSubscription over-the-top (OTT) video: ages 18+ who use at least once per month; includes all time spent watching video via any app or website that provides paid subscription access to streaming video conte

304、nt over the internet and bypasses traditional distribution; examples include Amazon Video, HBO Now, Hulu, Netflix, SlingTVPHOTO CREDITSSpider-Man: No Way Home. Courtesy of Sony Pictures. West Side Story. Courtesy of 20th Century Studios. Credit: Niko Tavernise.Squid Game. Courtesy of Netflix. Credit

305、: Noh Juhan.Sing 2. Courtesy of Universal Pictures.Luca. Courtesy of Disney-Pixar.Spirit Untamed. Courtesy of Universal Pictures and DreamWorks Animation. Loki. Courtesy of Marvel Studios.King Richard. Courtesy of Warner Bros. Pictures. Credit: Chiabella James.Shang-Chi and the Legend of the Ten Rin

306、gs. Courtesy of Marvel Studios.Old. Courtesy of Universal Pictures. Credit: Phobymo.tick, tickBOOM! Courtesy of Netflix.A Mouthful of Air. Courtesy of Sony Pictures.The Suicide Squad. Courtesy of Warner Bros. Pictures/ & DC Comics.Candyman. Courtesy of Universal Pictures/MGM. Dune. Courtesy of Warne

307、r Bros. Pictures and Legendary Pictures. A Quiet Place Part II. Courtesy of Paramount Pictures. Credit: Jonny Cournoyer.Encanto. Courtesy of Disney.Star Wars: The Bad Batch. Courtesy of Lucasfilm Ltd.Ghostbusters: Afterlife. Courtesy of Sony Pictures.F9: The Fast Saga. Courtesy of Universal Pictures

308、.Clifford the Big Red Dog. Courtesy of Paramount Pictures.Raya and the Last Dragon. Courtesy of Walt Disney Animation Studios.A Journal for Jordan. Courtesy of Columbia Pictures. Inside Job. Courtesy of Netflix.Lupin. Courtesy of Netflix. Credit: Emmanuel Guimier.In the Heights. Courtesy of Warner B

309、ros. Pictures. Credit: Macall Polay.Venom: Let There Be Carnage. Courtesy of Sony Pictures. Space Jam: A New Legacy. Courtesy of Warner Bros. Pictures.Station Eleven. Courtesy of HBO Max. Credit: Parrish Lewis.ABOUT THE MOTION PICTURE ASSOCIATIONThe Motion Picture Association, Inc. (MPA) serves as t

310、he global voice and advocate of the motion picture, home video, and television industries. It works in every corner of the globe to advance the creative industry, protect its members content across all screens, defend the creative and artistic freedoms of storytellers, and support innovative distrib

311、ution models that bring an expansion of viewing choices to audiences around the world.Its member studios are: Netflix Studios, LLC; Paramount Pictures Corporation; Sony Pictures Entertainment Inc.; Universal City Studios LLC; Walt Disney Studios Motion Pictures; and Warner Bros. Entertainment Inc. Charles Rivkin is Chairman and CEO.