I

Exhibition at Film Theaters

4. COMPARISON WITH FOREIGN COUNTRIES*The data of foreign countries are from:The United States of America (and Canada) - Motion Picture Association of America (MPAA)’s "Theatrical Market Statistics"
France - Centre National du Cinema et de l'Image Animee (CNC)’s "Results"
The United Kingdom - British Film Institute (BFI)’s "Statistical Yearbook"
Germany – Filmförderungsanstalt (FFA)’s "Die FFA-Förderungen"
Australia - Screen Australia’s "Fact Finders"
Korea - Korean Film Council (KOFIC)’s “Korean Cinema”
Japan – “Film Almanac 2018”’s “Statistics: Various Film Statistics of the Major Countries of the World” (Kinema Jumpo-sha)

In this section, we will compare Japanese film exhibition at theaters with that in the six foreign countries: the United States ofAmerica (USA)/Canada, France, German, the United Kingdom (UK), Australia and Korea, whose data are relatively easily
obtained. Their film exhibition situation has not been largely changing, and our report below has not changed much comparedwith that in 2017 and 2016. Some portions may be repetitious.

Attendance
In 2017, attendance in the USA and Canada together was the largest, followed by the attendance of Korea, France, Japan, the UK,Germany and Australia. If you take the country’s population into consideration, Japan’s attendance has been smaller than others.
The number of films a person went to see annually (the attendance divided by the population) in Korea was the highest of 4.3
films. This was followed by 3.4 films of the USA/Canada and Australia; France’s 3.2 films, UK’s 2.6 films, and Germany’s 1.5 films.
Japan’s number of 1.4 films was the lowest, and was a return to that of the period before 2011 when the Great East Japan
Earthquake hit Japan and the number went down to 1.1 films.
During these 10 years, the increase rate of the attendance was highest in Korea with more than 30% increase from 147.43 million
in 2008 to 219.87 million. In other countries including Japan, no outstanding changes have been seen. Despite the widened
choice of film watching formats outside of theaters, such as online streaming, the attendance numbers have not been largely
influenced.
People in Japan do not watch films at theaters as often as people in other countries and there are more theater audiences to bedeveloped. We should consider the reason why this number is low, compared with that in other countries.
The box office income was the largest in the USA/Canada, followed by that in Japan, the UK, Korea, France, Germany, andAustralia. The film attendance was low in Japan, however, its box office was the third largest coming after the USA and China.
The theater ticket price of Japan was in average 1,310 yen, relatively higher than that of other countries, and this is the reason
why its box office income was high while the average annual attendance did not increase. However, the average ticket price inI

Exhibition at Film Theaters

Australia was equal to 1,246 yen, not much different from that of Japan, while its average annual film attendance was 3.4, muchhigher than that of Japan. There should be other reasons why Japanese average annual film attendance was low.

Comparison with Foreign Countries

Attendance 2008-2017

Comparison with Foreign Countries

Number of Films a Person Went to See Annually 2008-2017

Comparison with Foreign Countries

Theater Ticket Prices and Box Office Income 2017

[Thousand]I

Exhibition at Film TheatersNumbers of Theaters and Screens
The number of screens was highest in the USA, which was 40,393, more than 10 times of that in Japan. In all seven countries,
the number of screens during these 10 years increased. Korea’s number increased by close to 40%, the UK’s increase was 18%,
and both France’s and Australia’s increased by more than 10%. It is considered that the increase of multi-screen theaters isbehind these increases, similar to the situation in Japan.
When the population per screen is lower, it means that there are more screens near you. The population per screen in Japan was
35,894, and this means that there were fewer screens compared with those in other countries. In Japan, you do not have movie
theaters near you. The USA’s number of screens is the highest, and the population per screen was 8,064. In France, thepopulation per screen was 10,959. In all six countries other than Japan, the population per screen is less than 20,000. In Japan,
the number of screens is one forth of that in the USA, one third of that in France, and one half of that in Korea. The low averageof number of films a person went to see annually in Japan is related to the low number of screens.

Comparison with Foreign Countries

Number of Screens 2008-2017

Comparison with Foreign Countries

Population per Screen 2017

Attendance and Box Office Income per Screen
The number of the annual attendance per screen was highest in Korea with 79,490, followed by Japan, which number was40,429. The number of both countries was lower compared with that in the year before. Particularly in Korea, its number largely
decreased from 97,688 of 2013, and this is probably due to the fact that the dramatic increase of the number of screens did notcorrespond to the attendance. In the UK and Australia, their numbers were each decreased from about 45, 000 to 40,000 during
the last 10 years. The number of screens in the UK increased by close to 20%, and that in Australia increased by close to 10%. In

I

Exhibition at Film Theaters

Germany, the number is roughly 25,000 and in France, the number is about 35,000.
Annual box office incomes per screen in 2017 were: about 64.75 million in Japan, about 31.51 million in France, and about 29.67
million in Germany. In Europe, their numbers were more than half of that in Japan. These figures did not change much during
these 10 years.

Comparison with Foreign Countries

Attendance per Screen 2008-2017

Various Formats of Movie Theaters
In Europe, not all the movie theaters are conventional theaters (like the theaters in Japan screening 5-6 times every day). Some
German theaters we introduced in our “Film Exhibition Activities Almanac 2016” are closed on Mondays and present merely 2 to
3 screenings a day. There are also theaters with screening only once a day or only during the weekend of Friday, Saturday andSunday operated by volunteer staff. Theaters in small towns have limited numbers of screenings and their attendances are small,
however, they can survive thanks to their diverse theater formats.
There are many formats of theater operations not only in Germany, but also in France and the UK. There are support systems forvarious and unconventional film exhibition maintaining diverse organizations and operations.

Need for the Film Exhibition Support Systems
In the above countries (the USA, France, the UK, Germany, Australia and Korea), there are organizations leading film culture,including the film industry itself, and there are promotion and support system for various forms of theaters and exhibitions aswell. There are film promotional policies at the national, local and community levels. In Europe, there is the support system byEuropa Cinema, a cultural organization under EU.
Public support and promotional policies should cover more than mere financial support. In general, the theaters receiving public
supports are required to present a variety of activities including programming emphasizing the relationship with the community,development of the young audiences, and film educational projects. At the same time, such activities become possible thanks toI

Exhibition at Film Theatersthe public support, and it inspires theaters and exhibitors to increase their cultural profiles in their communities.
In Japan, the area with no theaters has been spreading recently, and there have been activities in many areas in order to develop
community cinemas where local people gather around film. While these community cinemas are not wide spread and are nothaving a big impact on the film industry, they are important in energizing local film culture and cultural activities in communities.
We must consider employing film exhibition policy in order to make various ways of screenings possible.

The Proportion of Multi-Screen Theaters
The proportion of multi-screen theaters consistently increased from 2010 in each country. The proportion of multi-screen
theaters was highest in Korea with 94.2%, 2,605 screens out of Korea’s nationwide total of 2,766 screens. The total number ofscreens of other theaters also increased from 117 screens in 2014 to 161 screens, increasing by 44 in these three years. The
number of theaters increased from 82 in 2016 to 91 in 2017. In Japan, the proportion of multi-screen theaters was 88%, smaller
than that of Korea, and the number of screens of other types of theaters decreased from 657 to 416 during these 10 years.
Multi-screen theaters have occupied a major place in each country. However, the numbers of these theaters in France and theUK are not so high compared with the numbers in the other three countries. Particularly in France, the proportion ofmulti-screen theaters has been increasing but still remained at a level of 42.4%. As for the number of theaters, there are 1,827 ofother types of theaters, much more than 219 multi-screen theaters. In France, there are theaters 8 times more than that in Japan,
making people feel that they are close to theaters even in middle and small-sized cities, towns and villages.

Comparison with Foreign Countries

Portion of Multi-screen Theaters and Their Numbers of Screens 2011-2017

IExhibition at Film Theaters

Comparison with Foreign Countries

Portion of Multi-Screen Theaters and Their Numbers of Theaters 2016-2017*The definition of Multi-Screen Theaters (MST)USATheaters with more than 5 screens (there is no statistics)
FranceTheaters with more than 8 screens
UKMST: Film exhibition facilities with more than 5 screens
Others: Facilities including temporary screenings
JapanFilm exhibition facilities with more than 5 screens
Korea
CGV, Lotte Cinema, and Megabox theaters chains in addition to 7 theaters

Number of Films Released
In Japan and Korea, their numbers are each more than 1,000 films released in 2017. In Korea, 1,765 films were released,increasing by 245 from 1,520 of 2016. The number has been increasing since 201, to close to 4 times more than the number
before 2011. In 2017, compared with 72% of foreign films, 28% of the films released were Korean, increasing its share by close to10%. It seems that the productions and releases of independent films have been growing in Korea, as in Japan.
Only in France and Japan, the domestic film shares are more than 50% (52% in France and 50% in Japan; and the US statistics
on this matter is not available). In Japan, from the late 1980s to the early 2000s, many more foreign films were released thanJapanese films. However, since 2008, more Japanese films have been released. This made some people worry that Japanese film
audiences may be inwardly oriented, however, recently, more foreign films have been released. In 2018, the ratio between
Japanese and foreign films released was 50% to 50%, and their box office incomes were 55% vs. 45%, respectively. Thissituation is well balanced compared with that of other countries.

Comparison with Foreign Countries

Number of the Films Released 2011-2017