P2: Industry

Monday 4th November 2024
Film Industry

Warner Bros Assets -

- The Cartoon Network

- Discovery Channel

- Animal Planet

- DC

- HBO

- Scooby Doo

- Batman

- Superman

Warner Bros worth- 

$20.18 bill

Conglomerate -

Large business that is made up of multiple businesses, and operates in many different industries. The smaller owned businesses are called "subsidiaries" of the conglomerate, and are managed as separate things altogether. By owning a multitude of subsidiaries, the benefits of them all will feed back directly to the conglomerate.

Disney's industries -

Media streaming platform, themeparks, merch, movies, videogames

Worth - $173.76 bill

HOW MUCH DID DISNEY PAY FOR...

Pixar - $7.4 billion est

LucasFilm - $4 billion

Marvel -$4 billion

20th Century Fox - $71.3 billion

HOW MUCH REVENUE HAVE THEY GENERATED:

Pixar - $11.5 billion

LucasFilm - $12 billion

Marvel - $13.2 billion 

20th Century Fox -

Friday 8th November 2024

Economic context

Horizontal and vertical integration - two strategies used by companies to expand their operations and increase their market power

Horizontal integration - Where a company expands its operations by acquiring/merging with other companies within the same industry on the same level of the value chain. Increases market share.

Vertical integration - Where a company acquires/merges with another company that is on a different level on the value chain. Improves efficiency, control costs, and control over the supply chain.

1.) Creation of cameras

2.) Editing

3.) Synchronised sound

4.) Cinemas

Major film studios in 1930-1945 

Warner bros

Fox

Paramount

RKO

MGM

Monday 18th November 2024

LO: To explore the context and influences in the 1930s

Main characters - Snow white, the seven dwarves, the evil queen, the prince

Narrative - Evil queen jealous of Snow Whites beauty, tries to kill her, she finds the dwarves, the Evil Queen kills her, the prince brings her back with TRUE LOVES KISS

Themes - LOVE, JEALOUSY

Representations (groups, individuals, places, etc) - Dwarves old, balding grey hair, big beards, usually fat ; evil queen as old woman ugly, big nose, warts, snaggle tooth, hunchback. Snow white - pale, beautiful, slim, red lips

First movie to have merch and a vinyl ost released

First full-length animated feature film EVER

Based on classic fairy tail by brothers Grimm to make it less scary/more modern

Started in 1934, took 3 years

Used a multi-plane camera

Walt himself was veryyy involved with production

Premiered 3 days before christmas

• Early silent cinema was globally accessible due to visual storytelling.
• World War I disrupted film industries in France, Italy, and the UK but led to innovation in Germany.
• German Expressionism created, with exaggerated visuals reflecting psychological depth, exemplified by The Cabinet of Dr. Caligari. (sharp angles, lines and colour contrast, heavy shadows, often unsettling)
• UFA consolidated German film production, producing historical dramas and avant-garde works.
• Directors like Ernst Lubitsch, Fritz Lang, and F.W. Murnau innovated mise-en-scène, camera techniques, and storytelling.
• Post-war, Hollywood's dominance ended Germany's global influence, but Expressionism left a lasting impact.

• Walt Disney's upbringing - idealised, all-American vision of innocence and wholesomeness
• Midwestern roots - appreciation for family, community and hard work
• Nostalgic view of rural America - picturesque settings, small towns, (audiences of 1930s and 1940s seeking escape from hardships of WW2)
• HOWEVER - narrow and idealised view of American culture, no diversity or complexity.
• MULTIPLANE CAMERA, ROTOSCOPING, ENTIRELY HAND DRAWN, MUSICAL/SOUND

What influenced the production of Snow White & the Seven Dwarfs

A number of factors influenced the production of Snow White and the Seven Dwarfs. The first of which being German expressionism, where visuals and movements and sounds are exaggerated significantly to amplify the emotions and personalities of each character. This is used lots within Disney Cartoons, and has become a trademark trait of the production. New animation techniques are done through advanced software rather than being hand-drawn, which some would argue diminishes the personality and "german expressionism" of the work. Walt Disney's upbringing also massively influenced the production, with his rural, midwestern roosts, where in which hard work and innocent family ideals were a priority

Monday 25th November 2024

The Golden Age

LO: To explore cinema in the 1930s

• 1896 first cinema opened
• 1 nickel for a short film
• live music/sfx
• black people separated / charged differently
• used as escapism
• EARLY cinema was for working class
• MOVIE PALACES
• DOUBLE FEATURES
• NEWSREELS
• CENSORSHIP

Monday 2nd December 2024

Exhibition

LO: To explore Disney's exhibition strategy

Why was snow white such a success? -

- Innovation 

- Storytelling

- Music

- Marketing

- Reception

Merch -

- Figures

- Plushies

- Stationary

- Costumes

- Accessories

- Household items (cutlery, furnishings, etc)

Disney's release strategy -

- 1944 : Re-released for the first time, to boost morale during WWII

- 1952 : Part of a double feature with Alice in Wonderland

- 1967 : 30th anniversary celebration, new promos and merch

- 1983 : Double bill with Mickey's Christmas Carol and 50th anniversary

- 1993 : Promoted release on VHS

- 2016 : Celebrated films 79th anniversary, introduced by Disney's daughter, Diane.

How has it maintained its audience for older products? -

- Nostalgia

- Timeless storytelling

- Groundbreaking animation

- Memorable characters and music

- Disney BRAND

Friday 6th December 2024

Contexts

LO: To explore regulation & context of the 1930s

BBFC REGULATES FILM

In the US, the Hays Code was introduced in 1930 to regulate film content and "uphold moral standards" in the industry, and aimed to eliminate any content that was considered immoral or offensive, such as depictions of violence, sexuality and profanity. Snow White and the Seven Dwarfs was produced in accordance with the Hays Code, and as a result, contains no controversial or offensive material. However, the uses of German Expressionism, e.g the Wicked Witch and the dark forest, pushed boundaries at the time.

In the UK, film censorship was governed by the BBFC, which was established in 1912. It reviewed and classified films according to content and appropriateness for different age groups. U for universal/suitable for all ages, A for adults only, X for viewers over 16 years old. The board also cut or ban films that were deemed to be offensive or harmful. Snow White was classified as a U in Britain, however, the board raised concerned about the film's scary scenes, PARTICULARLY with the Evil Queen, so the film was given a warning that it may not be suitable for very young children.

Overall, both American and British film industry regulations had an impact on the production and distribution of Snow White. While the film was able to navigate and comply with these commercial regulations, it reflects the limitations that filmmakers had at the time.

Social, Cultural, Political, Economic and Historical context

Economic - 

- Production costs

- Revenue streams

- Merchandising

- Historical significance

- Long-term Impact

- Dominance of Hollywood Majors

- Disney's personal role

Monday 9th December 2024

Blockbusters

- A highly successful and popular movie that has been produced by a major Hollywood studio.

- Large budget, high production values, well-known actors and directors

- Typically have a strong marketing campaign

- A film that is NOT ONLY financially successful, but also culturally significant

Legacy character -

A character is a character whose identity is passed down to them from an older character, in the form of a title, job or persona for the newer character to assume. 

SHANG CHI AND THE LEGEND OF THE TEN RINGS

WHY IS IT DIFFERENT???

- Origin story

- New character

- New themes and identities (family, identity, cultural heritage)

MAIN CHARACTERS - 

Shang-Chi -

Xu Wenwu -

Xu Xialing -

Katy -

Ying Li -

NARRATIVE - 

An origin story about a young Kung-Fu master who is forced to confront his past when his estranged father draws him into a search for a mythical village.

THEMES -

Family, identity, cultural heritage

REPRESENTATION (GROUPS, INDIVIDUALS, PLACES, ETC) - 

- No white characters

- Man and woman equal in physical/fighting power

CHANGES IN THE FILM INDUSTRY -

Focus on ethnic minority

Monday 6th January 2025

Disney in 2021

- More money

- More progressive

- Advanced technology

- Made up of multiple companies (conglomerate)

- International

- Diversification into different areas (e.g collabs, theme parks, cruises, streaming platform)

- Cutting licensing deals in order to promote Disney+ exclusively

1.) Destin Daniel Cretton (director)

2.) Kevin Feige, Jonathan Schwartz (producers)

3.) Marvel Studios (production)

4.) Disney (distribution)

5.) 150 mill

6.)  1.2 mill

7.) Cinema

8.) 

9.) 432 mill

Influences -

- Martial arts films

- Supheroes/marvel

- Chinese mythology

- Hong kong cinema

- Fantasy adventure movies

Friday 10th January 2025

Marketing Techniques

New tech -

- CGI (Computer Generated Imagery)

- Motion capture

- Green screen

- Practical effects

- 3D Printing

How has the risk of illegal streaming been reduced? -

- Offering a wide range of content

- Providing high quality streaming

- Implementing anti-piracy measures

- Competitive, affordable pricing

Streaming and Disney -

- Expansion of distribution channels and wider audience

- Connection with audiences in new and engaging ways

- Provision of data and insights about their audience

- Adaptation of changing consumer behaviours and preferences

- Also brought new challenges related to piracy and copyright infringement

Shang Chi - Marketing and Promotion

-SOCIAL MEDIA POSTS 

-PHYSICAL POSTERS 

-PHYSICAL FLYERS

-BILLBOARDS

-ADS ON STREAMING PLATFORMS 

-AUDIO ADS ON SPOTIFY/RADIO 

-ADS IN NEWSPAPERS/MAG

-WORD OF MOUTH

-INTERVIEWS

-COLLABS

-SPONSORSHIPS

Film distributors are involved with a film before production, advising on its marketability. A distribution agreement will also cover -

- The promotion in all media before and after the release

-Different cuts necessary for different cultures or territories

- How the income for the release will be apportioned

- How far the distribution licence extends into other markets such as TV and home entertainment

The objective is to create visibility for an individual film and engage the audience's interest

Marketing techniques for Shang Chi -

- project was unveiled at 2019 comic con

- early teaser trailer april 2021

- full trailer premiered on Disneys ESPN

- a limited edition drink to promote it

- events run by promotional partners (Microsoft and BMW)

Monday 13th January 2025

Film Poster 

Genre - sci-fi, action, superhero

Narrative - Protagonist looking strong and serious, villain looming in background, and then the clear divide between the villain and protag fighting at the very front

Binary oppositions - Good and evil, warm and cold colours

Semiotics - Colour differences, the jagged spikey look of the villains magic and the smooth mystical look of the protags magic, colour themes makes it obvious who is good and bad

Stars - Simu Liu and Awkwafina well known, pull in audiences

Tone - SERIOUS and mystical

Intertextuality - implications of Martial arts and asian culture, might remind people of prior kung fu movies

What does the trailer suggest about -

The Narrative - Revolves around his evil father and the rings, ACTIONNN

Intertextuality - Martial arts, magic, asian culture and mythology, family dynamics, usual marvel elements of creative fight scenes and moments of humour, westernised

Opening - tech/strategies in the 30s

2nd Para - Tech/strategies used in 2021

3rd para - HOW FAR/MUCH? Impacts?

The techniques used for the marketing of major hollywood movies has transformed over history due to the evolution of both technology, and the audiences that consume it. For example, in 1937 after the production of Snow White, a number of marketing strategies were implemented to ensure the success of the movie. The movie was one of the first to feature its own merchandise, with dolls of the characters being exhibited in shops before the first streaming of the movie. This strategy introduced audiences to the movie and its characters as a concept, and inevitably the merchandise increased in popularity as the movie grew in fame too. It also had over one million brochures advertising the movie, a strategy still used today. Most of the audience came from the fact alone that Snow White was such an innovative and groundbreaking project, being the first full length animated film, and also relying massively upon the popularity of Disney himself - the market for movie length animated films was not competitive, therefore making it much easier for the movie to rise in popularity and speculation before it had even came out. 

Marketing strategies in the modern day are much different, however, due to inventions such as social media platforms, physical casts to interview, online advertisement and trailers, etc. 

Friday 17th January 2025

Shang Chi - Economic Context

LO: To explore the context of the set text

Merchandise -

- Can provide a significant additional source of revenue beyond the box office. It can extend the popularity of their product and they can capitalise on the continued interest of fans.

- Can take many forms including toys, clothing, accessories, home decor, etc. It may feature a character, logo, or other elements associated with the movie, and can be marketed to fans of all ages

- Can help to promote a movie and create buzz pre-releasee

- Can maintain a strong fanbase

 

Collectors item, for adult fans with a high income and a massive, consistent love for the movie.

Backpack, can be used by all ages but more likely children or passionate fans

Hoodie, for a range of fans

Shang Chi Rating -

- 12A

- Moderate violence (martial arts)

- Fight scenes , but no focus on injuries, blood or gore

- Monsters and potentially scary scenes

- Monsters explode but its colourful gunk instead of gore

- Sad and dark scenes but its not an OVERALL upsetting film

- Language minimum, says "bitch" once

Scenes in Shang Chi that would be "strongly cautioned"

- Monsters

- "Drowning" scene

- Fight scene with his dad and implied death

WHO RATES FILMS ON STREAMING SITES -

- THE SITES!

- Each country has its own classification system, standards vary

- By using own classification, streaming standards can offer consistent standards globally

- This has drawbacks because it can lead to perceived "inaccuracy" from country to country

BANNED -

- Trade tensions

- Cultural appropriation

- Perpetuation of stereotypes

Monday 20th January 2025

Exam Format

 

Strengths -

• Directly explains uses of marketing in both eras
• Directly explains evolution of tech

Weaknesses -

• Doesn't argue much regarding changes in culture/society
• No conclusion!

Strengths -

• Discusses social/cultural changes
• Conclusion!
• Explains uses of marketing in both eras

Weaknesses -

• Doesn't talk about tech changes 

Strengths -

• Talks about marketing strategies
• Talks about tech changes

Weaknesses -

• No discussion of 1960s vers
• Weird structure
• No discussion of cultural/social change

 

Explain how producers target, reach and engage audiences for film through content and marketing. In your answer you must explain how social and economic contexts influence how producers target, reach and engage social audiences.

Through a films content and the marketing it uses, it can massively reach a particular audience and demographic of its choosing, which can, in many instances, boost the success of a movie overall. Many factors impact how these demographics are reached how marketing is engaged with, most particularly social and economic contexts.

In regards to the marketing of Shang Chi, the movie was targeted mainly toward a male, adult audience. Strategies used to emphasise this was its trailer, which was first premiered in 2021 in a pre-basketball match on television. This, stereotypically, caters to Shang Chis target demographic of adult men In regards to economic context, Disney is known for its high budget movies, Shang Chi included, with a budget of $150 million. A high budget typically guarantees a high quality movie, either through a well known cast or impressive VFX, which would have boosted audience interest alone. There was also the social context of the coronavirus pandemic, with Shang Chi being one of the first cinema releases after the lockdown. Due to this, people would have been eager to see a movie in theatres, which made Shang Chi successful as a first-in-theatres release. Similarly, promotive tie-ins were used, such as exclusive posters or soundtrack albums, in order to build hype around the movie pre-release and guarantee a large amount of viewers.

Snow White, alternatively, would have differed in its marketing techniques due to changes in technology since the 1930s.

Friday 24th January 2025

Summary

• Oligopoly in 1930s - Paramount, Metro, Goldwyn Mayer, Warner Bros, Fox, RKO
• Hollywood studio system wasn't really regulate, relied on vertical integration
• These studios owned and controlled every element of film production
• Disney's content was distributed by RKO
• This system of studio ownership broke down in the late 40s/50s

• 21st century Disney is an international conglomerate that makes films as a small part of its overall operations
• More media platforms and forms = increased consumer choice and more competition
• Big budget films must offer visual spectacles and an immersive experience
• 1970s introduced "blockbuster" films - large budget designed to appeal to mass global audiences, huge marketing efforts, saturated distribution (goes everywhere)

• Production companies now bring together a script, cast, producers, directors and other key staff as a "package" to promote to distributors.
• Stars are still important in the "marketability" of a film but are no longer "owned" by studios, which makes their agents more powerful
• Hesmondhalgh - minimise risk with a high budget and good cast

• Production was quicker then, but distribution was slower. 
• Celluloid films had to physically travel from cinema to cinema, with reels gradually declining in quality, losing their picture and sound quality.
• Snow White was the first ever animation to use technicolour
• Cel animation
• Multiplane camera

• Premiered in LA in December 1937, then shown in two cinemas in New York and Miami in January 1938 (limited release)
• RKO then decided on a general release in February 1938 due to good box office and positive response from the audiences
• Massive success in both US and overseas, ran for 6 months in one London cinema
• This reflects the slow pace of distributions in the 1930s
• There was also a lack of competition, meaning cinema attendance was higher

• Cinema re-releases - 1995 to boost money for Disney during the war, then every 7 years. A special 100 year anniversary cinema release in UK in August 2023
• VHS release in 1994
• DVD release in 2001
• Blue-ray in 2009
• Further blue-ray/4k editions in 2011, 2016, 2022 and 2023
• International distribution - seven foreign versions released

• Premier with orchestra
• NBC Radio reported nationally
• Glowing review in Time Magazine
• Print poster campaign
• "Trailer"
• Merchandise (first film to do this!)
• Tie-ins with other brands

• CGI, motion-capture, and blue screen technology are synonymous with Marvel
• Complex choreographed fight scenes
• Pyrotechnics and stunts

• Vertical integration - Released in cinemas May 2021, then Disney+ November 2021
• Destin Daniel Crettin, Japanese-American director wanted Asian actors to self rep
• Film didn't do well in Asian market and was banned in China
• Budget was $150-200 mill
• Made $432 mill in box office
• In 4300 cinemas in US

• Global distribution was easier in 2021 due to the speed and economy in digital distribution.
• Trailers of the film showed the power of Marvel as a brand - Producers are named but not cast members. 
• Trailers had to appeal to a general, global audience
• MCU fans with theories and promotions
• Extensive global print campaign, 6 posters
• Simu Liu released first teaser poster, followed by Marvel
• Shang Chi in Disneyland
• Merch - clothes on Disney store (synergy), etc

• Historical context (Only snow white) -
• Attitudes to people with dwarfism is patronising
• Produced by white men 
• Gender representations reflect an uncritically patriarchal society
• Hays code of 1930s is considered now racist and homophobic
• The Great Depression and Wall Street Crash were rarely represented in Hollywood, and it was mostly used as escapism
• German expressionism and filmmaking

• Economic contexts -
• Free market capitalism, the pursuit of profit through selling products to audiences, can also be used as political control over what audiences can/can't see
• Globalisation, both films were successful in global markets, pace of globalisation accelerated at the end of 20th century, representing a fictionalised Chinese culture

RADIO

RADIO 1 BREAKFAST SHOW

LO - To research the background and industry behind the BBC Radio 1 show

- 30th September 2017, had its 50th anniversary

- Launched in 1967 and provided pop music

- Set up to differentiate Radio 2 and 4 which were more news based

- Also because government banned pirate radio stations

- "Breakfast show" is still a flagship show of BBC 1

- Change of presenter, etc, drew in lots of attention

1.) What is Public Service Broadcasting and what does this mean for the BBC

PSBs are television and radio programmes that are broadcast to provide information, advice, or entertainment to the public without trying to make a profit. The BBC is the worlds lead in this area, and they produce programmes and services that inform, educate and entertain, and deliver for all audiences across TV, radio, iPlayer, Sounds, News, Sport , etc.

2.) How is the BBC funded?

Its work is funded principally by an annual television licence fee which is charged to all British households, companies, and organisations using any type of equipment to receive or record live television broadcasts or to use the BBC's streaming service, iPlayer.

3.) How many radio stations does the BBC have? How do they differ?

BBC Radio is a network of 39 radio stations that collectively cover all of England, Jersey and Guernsey. They cover a variety of musical genres, decades, news and styles.

4.) What are the BBCs mission, values and public purposes?

“Act in the public interest, serving all audiences through the provision of impartial, high-quality and distinctive output and services which inform, educate and entertain”. Inform, educate, entertain.

5.) What are the main differences between commercial and non-commercial radio?

On the basest level the differentiator is money. The BBC, or, to use its full name, the British Broadcasting Corporation, is public service broadcasting, primarily funded by license payers' money. In contrast, commercial radio relies totally on advertisers.

Issues with this funding model -

BBC monopoly - why not a subscription model? 

Culturally UK government (Conservative)

Even 75yrs+ pay unless on pension credit

Monday 10th February 2025

LO: To research the background and industry of BBC 1 Radio Show

PSB and Political Context -

• PSB has an important role to play in democracy/culture
• PSB institutions are dependence on political support
• Cultural policy suggests PSB encourages inclusivity but also encourages a "national culture"
• This links to Reithian origins but develops into a global framework and a debate on the whole concept of "national television" vs "global television"
• (See BBC News vs Al Jazeera English)

Who are the target audience for BBC Radio 1? What are their expectations of the Breakfast Show?

15-29 year olds, (young audiences). Audiences typically expect high quality content that spreads across a range of genres. Breakfast shows should be aired in a particular time slot (7-10.30am)

Radio 1 Breakfast Show : times, presenters, audience figures, regular features?

6.58 NEWSBEAT, 7 SHOW STARTS, 10.30 NEWSBEAT

Greg James

7.54m listeners weekly

Mix of popular music, interviews with celeb guests, competitions, traffic and news

How can audiences access the Breakfast show, both during/after airing?

FM and online during airing and catch-up online

What is BBC Radio 1's remit?

"To entertain and engage a broad range of young listeners with a distinctive mix of contemporary music and speech."

Which other breakfast shows are it's biggest competition?

Radio 2, Radio 4, Heart

Friday 7th March 2025

Audiences

• Radio 1 has remained steady since 2018, but there has been a recent dip in popularity
• Overall audiences for Radio has declined due to alternative entertainment services
• Many more listeners use catch-up which impact live audience figures
• BBC R1 had 8.6m listeners aged 10+
• Greg James breakfast show has 4.3m aged 10+
• BBC sounds increased in popularity
• BBC offers more ideas to increase audience interest
• PSB stations have the funding to offer things that commercial stations can't

• Audiences are categorised and measured by RAJAR (Radio Joint Audience Research) in UK
• Jointly owned by the BBC and Radiocentre on behalf of commercial sector
• BBC aims to produce content appropriate for a diverse range of young audiences. Remits emphasise the need to cater for whole UK population
• BBC R1 has particular remit for younger people.
• Remits are reflected in choice of presenters, playlists, overall content

Audience figures - 

• According to metrics such as YouTube views and social engagement – but struggled on broadcast, with Breakfast slumping from a weekly audience of 7 million people aged over 10 to record lows of about 5 million during Grimshaw’s five-year run.

• When we speak, the week before James’s anniversary, the latest Rajar audience figures show that he has attracted 250,000 new listeners in his first year.

• It is a rare success story in radio, with Zoe Ball’s Radio 2 Breakfast show – the country’s most popular – losing 780,000 listeners since January to record an audience of 8.27 million in the second quarter of 2019. James’s show has a weekly audience of 5.69 million listeners aged 10-plus, up from 5.44 million last August. 

• BBC Radio 1’s continuous strategy to focus on its younger audience exclusively, is proving a success. The station made a conscious effort back in 2015 to focus on its key, younger audience of 15-29-year-olds  and in their own words to “ play the best new music and support emerging talent.”

• The remit of Radio 1 is to entertain and engage a broad range of young listeners with a distinctive mix of contemporary music and speech. Radio 1’s target audience is 15-29 year olds and it should also provide some programming for younger teenagers.

• Latest figures for BBC Radio 1 show the station had 8.62m listeners aged 10+ and the Radio 1 Breakfast Show with Greg James (Mon-Fri) had 4.65m 10+ listeners.

• From Q3 to Q4 of 2016, Grimmy’s audience has increased from 5.25m to 5.37m listeners. But Radio 1Xtra lost listeners in the same period, dropping from 1.03m in Q3 to 909,000 in Q4. And Radio 1’s overall audience also fell from Q3 to Q4, down by 3.2 per cent to 9.56m.

• In Q4 2015, Grimmy had 5.87m listeners, which is why it’s being reported that he’s lost half a million listeners in the last year, but Radio 1 as a whole lost 7.4 per cent of its listeners since then as well, and Chris Evans’ Breakfast show on Radio 2 has lost 200,000 listeners across the same period.

• Last year, BBC News reported the number of hours 15 to 24-year-olds spent listening to radio had fallen from 29 million hours in 2010 to 16 million in 2016. This age group used to make up 45% of Radio 1’s listenership (3.7m); it’s now just 36% (2.9m). This is largely thanks to the arrival of streaming services, and that’s why Radio 1’s head of music, Chris Price, wants to start some kind of streaming service.

• Today RAJAR announced 49.5 million adults or 88% of the adult (15+) UK population tuned in to their selected radio stations each week in the third quarter of 2023. The total average number of weekly hours listened to radio for this Quarter is 1.016 billion hours.

• On average a listener tunes into 20.5 hours of Live Radio per week. 

• 70% of weekly listening hours are consumed DIGITALLY. Listening via a DAB has 42% share of listening, online has a 24%, (website/apps 10%, smart speakers 14%, DTV is 4%)

• AM/FM listening hours are less than a third with 30%