Abstract
This paper focuses on patterns of film consumption within cultural consumption more broadly to assess trends in consumerism such as eclectic consumption, individualised consumption and omnivorous/univorous consumption and whether economic background and status feature in shaping cultural consumption. We focus on film because it is widely consumed, online and offline, and has many genres that vary in terms of perceived artistic and entertainment value. In broad terms, film is differentiated between mainstream commercially driven film such as Hollywood blockbusters, middlebrow ‘feel good’ movies and independent arthouse and foreign language film. Our empirical statistical analysis shows that film consumers watch a wide range of genres. However, films deemed to hold artistic value such as arthouse and foreign language feature as part of broad and wide-ranging pattern of consumption of film that attracts its own dedicated consumers. Though we found that social and economic factors remain predictors of cultural consumption the overall picture is more complex than a simple direct correspondence and perceptions of other cultural forms also play a role. Those likely to consume arthouse and foreign language film consume other film genres and other cultural forms genres and those who ‘prefer’ arthouse and foreign language film have slightly more constrained socio-economic characteristics. Overall, we find that economic and cultural factors such income, education, and wider consumption of culture are significant in patterns of film consumption.
Highlights
This paper focuses on patterns of film consumption within cultural consumption in the UK
We focus on film because it is widely consumed and has many genres that vary in terms of perceived artistic and entertainment value
We looked to see if the inclusion of perceptions of cultural forms would improve our model of which consumers fall in the ‘All film’ latent class
Summary
This paper focuses on patterns of film consumption within cultural consumption in the UK. The paper examines whether consumers of particular film genres form distinct latent classes of consumers, and if so what those patterns of consumption are. This encompasses music, television, theatre, literature, newspapers, art galleries and museums, sport, videogames, restaurants, pubs and clubs as well as film Within this variety, there are potential shifts between artistic and entertainment values of cultural forms that may shape consumption patterns through changing forms of taste and distinction (Friedman et al, 2015). It binned the expressions into one of four possible categories using k-means clustering, marking ach as either as: ‘Negative’, ‘Limited’, ‘Positive’, or ‘Very positive’ We used these measures to compare perceptions of the 15 cultural activities n the DCMS data with the film genre preference latent classes generated via a χ2 test for independence. Locating film genre and film genre preferences The step is to assess if there was any differentiation within film consumption, which we do by asking: 1. A re film genres, in and of themselves, differentiated by consumer preferences?
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