Tag: viewership

  • GECs vow on Bolly-busters to up viewership

    From time immemorial movies have served as an extra value pack to general entertainment channels. While fiction remained the staple diet for the lot, movies dished up the programming lineup, especially on weekends, as an eagerly awaited dessert.

    The design was to attract additional viewership that went beyond the traditional eyeballs (target group), evidently flocking onto the respective channels to prey on their regular dose of fiction.

    While the trend continues even today, freshness and contribution from movies as a genre towards the Hindi GEC is significantly scaling up more effectively. Channels are pursuing hard to pocket big ticket movies and persistently locking in air-time for them within the smallest time-gap from their theatrical release. This means, for some, accessibility on TV could be just four weeks after the theatrical release while for a few the availability would be six-seven months post hitting the plexes.

    Take  for instance the Ranbir Kapoor-Katrina Kaif starrer Ajab Prem Ki Ghazab Kahani. Colors premiered the movie in December 2009, just a month after its theatrical release. The movie garnered a 7.45 TVR (C&S 4+, HSM), contributing 50.2 GRPs to the channel. On the other hand, Aamir Khan’s 3 Idiots was on Sony seven months after its release and was a table turner for the channel as it earned 91.8 GRPs (10.88 TVR) to make Sony the third Hindi GEC for that week.

    Says Viacom 18 CCO and head international business Gaurav Gandhi, “Big ticket movies always act as a differentiator to boost channel viewership while helping audiences at that point in time to sample other properties. Thus, it broad bases the typical GEC audience and draws in an entire family viewing.”

    Elaborating further, Star India EVP marketing and communications Anupam Vasudev says, “TV channels now-a-days aim to show movies earlier, shortening the window gap, because of the recency effect on the viewer‘s mind. And because it adds to the content variety, it plays a strategic role in fulfilling consumer requirements.”

    A complete change in the cost recovery model for movies has also accelerated the eagerness of channels to showcase such products within a shorter window span. Besides quoting huge satellite right prices for their movies, producers have found other avenues like home video and DTH to exploit and monetise their products; and the modes are available even if the movies have crashed or performed average at the box-office.

    “Since piracy is always at an all-time high, broadcasters think ‘why wait’ and ‘why not’ make the movies available to the audience as soon as they can!”, Gandhi adds.

    Consider this: average box office  office performers such as All The Best, De Dana Dan and Atithi Tum Kab Jaoge along with the box office disaster Veer managed to do favourably well on television with each grabbing an above 3 TVR.

    All The Best on Zee TV earned a 4.23 TVR during its premiere, fetching 25.2 GRPs for the channel; De Dana Dan on Star Plus got 3.97 TVR and 26.9 GRPs; Atithi Tum Kab Jaoge on Star Plus did 3.32 TVR and fetched 16.6 GRPs while Veer got a 3.55 TVR to earn 23.1 GRPs for the same.

     

    Top Bollywood Movies aired in GEC during 2010 in HSM Mkt
    Rank Channel Programme TVR% GRPs
    1. Sony Entertainment TV 3 Idiots 10.88 91.8
    2. Colors Ajab Prem ki Ghazab kKahani 7.45 50.5
    3. Zee TV All the Best 4.23 25.2
    4. Star Plus De Dana Dan 3.97 26.9
    5. Star Plus Wanted 3.95 27.5
    6. Star Plus Veer 3.55 23.1
    7. Star Plus Atithi Tum Kab Jaoge 3.32 16.6
    8. Star Plus Paa 2.85 19.4
    9. Colors Do Knot Disturb 2.45 13.1
    10. Zee TV Kambakkht Ishq 2.22 11.6
    11. Colors Toh Baat Pakki 2.2 9.4
    12. Sony Entertainment TV Dil Bole Hadippa 2.14 15.5
    13. Star Plus My Name is Khan 2.14 15.5
    14. Colors Kites 2.14 12.4
    15. Colors Whats your Raashee 1.37 10.5
    Source: TAM | TG: CS 4+ yrs | Period: Jan to July 2010

    “TV provides free viewing even to flop films. So people who chose not to pay high ticket prices at multiplexes for such movies will anyway watch the film on TV thereby upping the viewership base,” says a top media planner on conditions of anonymity.

    But does this mean that movie premieres, especially the big tickets, always pull in mass eyeballs? Not really. Industry players believe that the TV viewership success of a movie is the functionality of its content and the rigorous promotion that the channel performs. And therefore, a low marketing push for box office hits like My Name Is Khan (Star Plus) and Wanted (Star Plus) on TV did just average as they drew in 2.14 TVR and 3.95 TVR respectively.

     

     

     

    Top Bollywood Movies aired in GEC during 2010 in All India Market
    Rank Channel Programme TVR% GRPs
    1. Sony Entertainment TV 3 Idiots 8.55 72.1
    2. Colors Ajab Prem ki Ghazab kKahani 5.59 37.6
    3. Zee TV All the Best 3.16 18.9
    4. Star Plus De Dana Dan 2.96 20.0
    5. Star Plus Wanted 3.04 21.2
    6. Star Plus Veer 2.75 17.9
    7. Star Plus Atithi Tum Kab Jaoge 2.5 12.5
    8. Star Plus Paa 2.24 15.2
    9. Colors Do Knot Disturb 1.8 9.6
    10. Zee TV Kambakkht Ishq 1.65 8.6
    11. Colors Toh Baat Pakki 1.63 7.0
    12. Sony Entertainment TV Dil Bole Hadippa 1.68 12.2
    13. Star Plus My Name is Khan 1.74 12.6
    14. Colors Kites 1.61 9.3
    15. Colors Whats your Raashee 1.05 8.0
    Source: TAM | TG: CS 4+ yrs | Period: Jan to July 2010

     

    3 Idiots, on the other hand, went  through an aggressive marketing process. The movie certainly grabbed a historical share of the viewership in the Hindi GEC space but the push also came in from meticulous promotional initiatives. Sony devised strategic promotional activity with the cast of the film and infused it into the programming of the channel which helped in further driving up the viewership.

    Also, interestingly, as part of the promos, Sony offered viewers the chance to enter a competition to win one of the iconic chairs from the movie and the response received was the highest ever from any movie competition on the channel.

    Broadcasters affirm that, even though exorbitantly priced, movies can recover the prices paid by them if the products are promoted rightly so as to grab advertiser’s attention. This is because such premieres not only summon a spike for the channel, but is surely a boon for the advertisers too who associate with them. “When advertisers walk on board as sponsors, the deals include multi-week promotional campaigns on the channel’s other properties – fiction, non-fiction, events – exhibiting a visible sponsor label. Also, due to expanded viewership from such premieres, the advertisers get more exposure,” says Gandhi.

    Adds Filmy business head Rajeev Chakrabarti , ”Big ticket movies premiered on GEC channels are strategic programming spikes around which channels attempt to garner viewer and advertiser’s attention. The networks pay a very heavy price towards acquiring these titles and ultimately, the frequency and viability of such big-ticket ‘premieres’ need to justify the cost-to-reward ratio in line with the business objective.”

    The window-gap between a movie’s theatrical release and TV broadcast has also shortened because the maximum collection that it garners is within the first two-three weeks at the plexes.

    Says a media planner, “Eight years back, about 200-300 prints of a movie were circulated and it took about six months to complete full national coverage. But today with the advent of multiplexes, 500-1000 prints of movies are released and it takes just two-three weeks for theatrical recovery.”

    Talking about placements, Mediaedge:cia India MD T Gangadhar informs that movies are strategically placed for weekend viewing because GECs are frail on fiction during this part of the week.

    Zee TV marketing head Akash Chawla, however, believes that movies must be chosen on novelty factor and should only act as new-audience-attracters rather than GRP boosters.

    “The primary challenge for a Hindi GEC is to maintain consistency and not become dependable on movies. Putting up movies in the programming schedule to just get numbers without encashing them to generate maximum revenues is not part of our strategy,” he says.

     

  • Kids channels gain viewership; Nick cracks HSM

    Surely the biggies of the Hindi general entertainment space have been channelising their efforts to attract the kids segment. If Colors has been trying to capture the small pops through its top-rated shows Balika Vadhu and Uttaran, Zee TV is gearing up to use this arsenal in its new property Aap Ki Antara.

    But has this effort anyhow eaten into the viewership pie of the discerning bunch of little champs, the kids‘ channels as a category? Not really!!! If 2008 saw the kids genre close at a 13.78 per cent share (period Jan-May 2008, All India C&S 4-14), the same period in 2009 (period Jan-May 2009, All India C&S 4-14) saw the genre grow by 1.08 per cent.

    Kids Genre Share % in 2009
    Month
    ALL INDIA 09
    Jan
    13.9
    Feb
    13.6
    Mar
    14.5
    Apr
    15.6
    May
    16.6
    Source: TAM, C&S 4-14, All India
     

    Within the category, again, there are a few transitions. While Cartoon Network still continues to hold the fort, the channel has seen a slight dip of 0.4 per cent in its market share for the period between January to May in 2009 as compared to the same period last year.

    Sibling channel Pogo too has surely managed to remain number two in the space. The channel has also seen a rise in its market share from 20 per cent in 2008 to 22.8 per cent in 2009.

    All India Market
    Channel
    Jan
    Feb
    Mar
    Apr
    May
    Cartoon Network
    29
    26
    27
    24
    23
    Pogo
    23
    24
    24
    22
    21
    Nick
    17
    16
    15
    21
    20
    Hungama
    14
    15
    17
    14
    18
    Jetix
    10
    11
    10
    9
    9
    Disney
    7
    7
    7
    9
    8
    Spacetoon Kids TV
    0
    0
    0
    0
    0
    Source: TAM, C&S 4-14, All India

     

     

    HSM Story

    Nevertheless, when it comes to slicing the market further to concentrate on the HSM space, the view is visibly different and new. While CN has seen a slight dip here too for the same period over last (Jan – May 2008), it has been ousted for the first time ever by new market leader Nick for the last two consecutive months. Nick has also seen a 4.4 per cent upward swing in its market share, compared to 2008.

    So what helped Nick emerge as the number one kids channel in the Hindi speaking market?

    “There are a couple of factors that helped us attain this position. First, the Nicktoons – characters that have helped Nick establish space and engagement with the kids leading to an increase in the stickiness of the channel,” says Nick India SVP and GM Nina Elavia Jaipuria.

    “Second, we have managed to take Nick beyond television, thus making it more tangible. And I think we did that very successfully with our experimental 360 degree marketing philosophy – we wanted to be in every place where children are,” she adds.

    In 2009, CN, however, continues to remain above Nick at 23.4 per cent (Jan – May 2009). Pogo hasm meanwhile, climbed 4.6 per cent up over last year to garner 22 per cent market share.

    HSM Market
    Channel
    Jan
    Feb
    Mar
    Apr
    May
    Nick
    22
    20
    18
    25
    25
    Hungama
    17
    19
    21
    17
    22
    Cartoon Network
    27
    25
    25
    21
    20
    Pogo
    22
    24
    24
    21
    19
    Disney
    8
    8
    8
    10
    10
    Jetix
    4
    4
    4
    5
    5
    Spacetoon Kids TV
    0
    0
    0
    0
    0
    Source: TAM, C&S 4-14, All India

    While there is definitely a Cartoon Network vs Nick tale here, there seems to be a new contender creeping up the ladder to challenge the old bee.

    Latest Tam data shows that Hungama TV, the kids channel for 4-14-year-olds which saw a 8.8 per cent fall in its market share over last, has relocated to the number two spot to push CN down the ladder for the month of May, 2009.

    Recently, as part of its revamping strategy, the channel had introduced three new bands during summer and infused new shows into the bands. And its quite evident that the channel shored up its ratings post the change.

    The channel had acquired two live action shows, Hatim from Star and Dharam Veer from NDTV Imagine to put them under the action band, Dum Powder. The Trouble Soda band features shows such as Doraemon and Ninjaboy Rantaro while Fun Gas showcases Shinchan and Asari Chan.

    Disney channel, meanwhile, has also exhibited an upward growth in its market share.

    Well, indications are on that while competition is really getting fierce, competitors are also putting their acts together to displace the winning feather from CN‘s hat.

    So, does CN foresee any collision ahead?

    Says Turner International India vice president and deputy general manager – entertainment networks, South Asia Monica Tata, “Cartoon Network and Pogo‘s relative shares in HSM have grown this January-May 2009 to 45 per cent from 41 per cent in the same period in 2008. These numbers are also a reflection of Turner‘s long term vision and strategy for India that has paid rich dividends making Cartoon Network and Pogo the most viewed and loved brands amongst kids in India. Not only kids, but parents too give the highest endorsement to these two networks as their choice for kids (per New Generations 2008).”

    “Besides, we also enjoy the lion‘s share of the advertising pie. Increased competition has not outstayed us from our leadership position in the last 13 years and that‘s a merit/result of our focus on the long-term rather than short-term measures and gains and a proof that we know and service our consumers best amongst all,” Tata adds.

    South Story

    Treading the Southern path, CN indisputably continues to rule the region exhibiting its leadership crown. Placing itself at the second spot, however, is not CN‘s sibling channel Pogo, the second in command in the All India market, but Disney‘s Jetix that is fed on action adventure content and targeted at only boys between the age-group of 6-10.

    “Of the two global channels (read Disney and Jetix), Jetix is a more defined channel. We have made it available in four languages – English, Hindi, Tamil and Telugu,” said Walt Disney Television International (India) senior vice president and managing director Antoine Villeneuve earlier in an interview with Indiantelevision.com.

    South Market
    Channel
    Jan
    Feb
    Mar
    Apr
    May
    Cartoon Network
    36
    32
    35
    34
    32
    Jetix
    27
    32
    30
    26
    30
    Pogo
    26
    26
    25
    27
    26
    Nikelodeon
    3
    4
    4
    5
    5
    Disney
    4
    3
    4
    4
    3
    Hungama
    3
    3
    3
    3
    3
    Spacetoon Kidss TV
    0
    0
    0
    0
    0
    Source: TAM, C&S 4-14, All India

    Advertising and the kids‘ genre

    Advertising growth came under pressure amid recession and clients and advertisers became cautious about their ad spend. As a result kids channels were stressed to move to quarterly deals with big advertisers, slash their ad rates and see some brands do a walk out. Yet, in spite of all, the category saw its ad volume grow by 36.87 per cent for the period from January to May 2009 over the same period last year.

    Period
    Jan-May 08
    Jan-May 09
    AD Volumes (Secs ‘000s)
    7726
    10575
    Source: TAM

    So does this increase indicate that existing advertisers had increased their spots across the kids channels while channels were unable to attracting new advertisers during the recessionary period?

    “Not really. Television is the cheapest medium to reach out to the masses. For every other medium, there is an extra amount to be paid. Manufacturers understand this and they have also recognised our growth. And, thus, even during recession we have doubled our rates,” says Nick‘s Nina Elavia Jaipuria.

    While Nick claims that despite challenging times the channel quadrupled its sales revenue as advertisers found value in what they offered, Cartoon Network was on course to achieve its yearly targets.

    “We‘ve added more value for the advertisers with innovative and customised solutions. For example, ‘The Winning Secret‘ a contest specially created to build Boost‘s association as the energy partner for the Rajasthan Royals that received over 84000 entries! And, ‘Morning Shines‘, a customised pre-school programming block specially packaged for Johnsons Baby Top-to-Toe Wash,” says Tata.

    Apart from traditional advertisers, broadcasters state that a lot of non-traditional advertisers across sectors like FMCG, investment banks and durable products are also eyeing this space. The rationale behind this, they feel, are an increase in the co-viewing pattern and also the mere pester power of kids who have the ability today to influence parent‘s decisions.

    “In order to spend time with their kids, parents end up spending a lot of time on the kids channels. Also, animation as a category is today appealing to adults. Thus, a lot of co-viewing is taking place,” explains Jaipuria.

    Cartoon Network, meanwhile, claims that over 30 per cent of the channel‘s advertisers reach out to its secondary audience (that is 15+) such as Procter & Gamble, Gillette, Johnson & Johnson, Colgate Palmolive, Hindustan Unilevers, Reckitt Benckiser, SC Johnson, Marico, Vodafone, Bharti Airtel, BSNL, LG Electronics, Voltas, Whirlpool, Hitachi, Tata Tea and L‘Oreal, amongst others.

    Says Tata, “We have a robust portfolio of clients comprising both traditional and non-traditional kids‘ marketers with over 165 clients between Cartoon Network and Pogo. We are confident of further upping our non-traditional clientele, as 47 per cent of all viewership for the channels comes from CS 15+ audiences.”

    Broadcasters feel that the main factors that have led to the growth of the genre are localisation of content, co-viewing pattern, pester power of kids and taking the medium beyond the television space through licensing and merchandising, on-ground activities, constant promotions, polls, votes and contests.

    Local content adds a lot of local flavour to the content and therefore helps in increasing the channels‘ stickiness. CN believes that the 20 Indian animation shows/features playing on the channel have worked well for the channel. And its 2009 plan, therefore, is to expand on Indian animation content. For Pogo too the focal point will be to expand its original production.

    Similarly, while Disney has managed to establish its brand connect with audiences through its franchises, the ratings have been coming in from locally acquired live action content.

    “There has been an effect on ratings, but when it comes to a brand connect with the kids it is with our franchise properties. The best example of this is Hanna Montana. Our endeavour is to build a localised experience through Hanna Montana and our other properties,” says Villeneuve.

    All said and done, industry believes that even though the category‘s viewership continues to grow, even today it remains hugely under indexed. “As a result, in spite of contributing 7 per cent to the total television viewership, it commands only two per cent of the entire television ad revenue pie. This is because of the baggage that the space has been carrying over the years where advertisers are used to paying to the GECs,” avers Jaipuria.

  • DVRs, HDTV to boost TV viewership, advertising in the US: PricewaterhouseCoopers

    DVRs, HDTV to boost TV viewership, advertising in the US: PricewaterhouseCoopers

    MUMBAI: PricewaterhouseCoopers has released its Global Entertainment and Media Outlook: 2006-2010 stating that digital video recorders (DVRs), digital television, and high-definition television (HDTV) will enhance the appeal of television, leading to increased viewership and advertising in the United States.

    The UK and Germany are the two largest markets in Europe, Middle East and Africa region at $10.7 billion and $10.1 billion respectively, in 2005. Italy ranks third, at $7.8 billion, and PwC expects it will reach the $10-billion threshold in 2010.

    Japan is the dominant country in the Asia Pacific in terms of value, at $19.7 billion in 2005, equivalent to 54 percent of total spending. Japan is slowly emerging from its long-term economic slump, and its television network market will expand at a 3.9 per cent annual rate through 2010. This marks a significant improvement compared with the 0.2 per cent growth compounded annually during the past few years.

    Venezuela will be the fastest-growing market in Latin America, at 14 per cent compounded annually. However growth will be artificially augmented by continued high inflation, a factor no longer present to a significant degree in the rest of the region.

    The television network market in Canada will expand at a relatively steady 4.3 per cent compound annual rate to $4.5 billion in 2010 from $3.7 billion in 2005.

    As far as distribution of television content is concerned in the US, video on demand will be the fastest-growing category, at 22 per cent compounded annually, and will grow to $3.9 billion in 2010.

    Italy will be the fastest-growing country in Europe, Middle East and Africa, with a 22.9 per cent compound annual growth, fuelled by a rapidly expanding satellite market and growing IPTV.

    In the Asia Pacific region, Hong Kong has been the fastest-growing market during the past two years, more than doubling as a result of the introduction of new channels and a developing IPTV market. Although Hong Kong constituted less than 1 percent of all subscription households in Asia Pacific in 2005, it accounted for 57 percent of the region’s IPTV households.

    The TV distribution market in Latin America, regardless of distribution platform, has been gaining momentum during the past three years and will post double-digit increases beginning in 2006 that will extend through 2009 before dropping to a high-single digit gain in 2010.

    In Canada, buoyed by the revitalization of cable, video on demand is taking off and by 2009 will generate more revenue than pay-per-view will.

    Sports: As far as sporting events are concerned in the US, gate revenues will total an estimated $20.7 billion in 2010, up 6.6 per cent compounded annually from $15.1 billion in 2005. In the Europe, Middle East and Africa region sponsorships, merchandising, and other revenue will rise to $10.1 billion in 2010, an 8.9 per cent compound annual gain from $6.6 billion in 2005.

    In the Asia Pacific region, large increases in TV advertising and subscription revenue will propel TV rights fees. In Latin America, an emerging broadband market and sustained economic growth will expand the sponsorship and merchandising market. The return of the NHL will propel all components of the sports market in Canada in 2006.

    Cinema: The American box office growth will average 4.3 per cent compounded annually during the next five years from a weak 2005, taking total box office spending from $9.0 billion in 2005 to $11.1 billion in 2010. However, admissions in 2010 will remain below the levels achieved during 2002-04.

    In the Europe, Middle East and Africa region online subscription services and video streaming services are entering the market. Together, they will reach $2.2 billion by 2010 from only $216 million in 2005, averaging 59.1 per cent growth compounded annually.

    In the Asia Pacific, high-definition video and reduced piracy will stimulate the sell-through market. PwC projects sell-through spending to grow at a 6.2 per cent compound annual rate to $6.2 billion in 2010 from $4.6 billion in 2005.

    Countries in Latin America are supporting local production through various subsidy programmes. As the experience of 2004-05 indicates, the success of local films can have a dramatic impact on the overall market.
    In Canada, sell-through growth will average 4.9 percent compounded annually to $3.8 billion, and rentals will be flat at $1.3 billion.

    Music: Licensed digital distribution in the US will rise from $653 million in 2005 to $4.9 billion in 2010, a 49.5 per cent compound annual increase. From a five per cent share in 2005, digital distribution will constitute 33 per cent of recorded music spending in 2010.

    The launch of new digital distribution services and growth in the number of broadband Internet subscribers in the Europe, Middle East and Africa region will fuel digital download spending. In the Asia Pacific, piracy will continue to cut into sales. On a more positive note improved enforcement, combined with an increasingly more sophisticated and enabled economy, will lessen its incremental impact as antipiracy efforts begin to yield results.

    In Latin America, anti piracy initiatives are beginning to yield results, and although still a major problem, piracy will have less of an adverse incremental impact on unit sales. New services and an expanding broadband market in Canada will boost licensed digital distribution services.

    Radio and Out-of-Home Advertising: In the US, satellite radio will increase from $1 billion in 2005 to $5.4 billion in 2010, a 39.5 per cent compound annual increase.

    PwC projects the radio and out-of-home market in the Europe, Middle East and Africa region will expand from $23.1 billion in 2005 to $29.2 billion in 2010,growing at a 4.8 percent compound annual rate.
    In the Asia Pacific, region the radio and out-of home market will increase from $11.0 billion in 2005 to $14.1 billion in 2010, growing at a 5.0 percent compound annual rate. Excluding Japan, growth for the remainder of the region will average 8.2 per cent compounded annually.

    In Latin America, rising employment will boost commuting and lead to increased exposure to out-of-home media. In Canada, the digital broadcasting market will boost the number of stations and expand the potential market, but increased audience fragmentation will dampen ad rates.

    Video Games: In the US, wireless games will experience the fastest rate of growth, increasing from $646 million in 2005 to $2.3 billion in 2010, a 28.6 percent compound annual increase.

    In the Europe, Middle East and Africa region the online game market will be driven by increased penetration of the broadband subscriber market as well as by the new consoles, which will emphasize online play.

    In the Asia Pacific region, online games became the second-largest category in 2005, passing the PC game total, and will increase by 23 per cent compounded annually, reaching $4.4 billion in 2010 as compared with $1.6 billion in 2005.

    As a result of lack of competition from the newer online and wireless technologies, PC games are relatively more important in Latin America and are not exhibiting the declines evident elsewhere in the world. Canada has one of the highest broadband penetration rates in the world, spurring growth in the online game segment.

    Magazine Publishing: In the US, advertising in this area will total $29.2 billion in 2010, up 4.5 per cent on a compound annual basis, with consumer magazines reaching $16 billion, growing by 4.5 per cent compounded annually, and business magazines rising to $13.2 billion, a 4.4 percent average annual increase.

    The UK has the largest magazine advertising market in the Europe, Middle East and Africa region and ranks second in circulation spending. The market has been bolstered by new titles targeting men.

    New regulations will encourage international publishers to invest in China and India, thereby stimulating magazine publishing in these territories.

    Brazil is the dominant market in Latin America, at $1.3 billion, 48 per cent of the total, followed by Argentina, at $606 million, and Mexico, at $598 million. Circulation spending in Canada rebounded in 2005 with a 0.9 per cent increase following five years of decline.

    Newspaper Publishing: In the US, newspaper web sites will drive advertising growth as online distribution becomes a significant delivery channel.

    In Europe, Middle East and Africa new formats and giveaways will boost circulation temporarily–largely at the expense of competitors utilizing traditional approaches while increased investment in presses will improve the appearance of newspapers and help attract readers over the longer run.

    Japan is the largest market in Asia Pacific, at $21.1 billion in 2005 and 45 per cent of the total. The market has been essentially flat during the past three years, which represented an improvement compared with low- to mid-single-digit declines during 2001-02.

    PwC projects newspaper publishing in Latin America will increase from $5.4 billion in 2005 to $7.0 billion in 2010, a compound annual gain of 5.4 percent. In Canada, cutbacks in household delivery together with competition from free papers will adversely affect paid circulation, but strength among smaller papers will limit the decline.

    Book Publishing: In the US, professional books are migrating to electronic formats, leading to a decline in print spending. The print book market in Western Europe will rise to $46.8 billion in 2010 from $43.2 billion in 2005, a 1.6 per cent compound annual increase.

    Japan and China are the dominant countries in the Asia Pacific region, at $9.0 billion and $6.8 billion, respectively. Together, they constituted 71 per cent of the print market in 2005.

    In Latin America, improved economic conditions will help consumer book sales, but low readership levels and piracy will restrain the market. Rising college enrollments and increased school spending will boost the educational book market in Canada.

    Theme Parks and Amusement Parks: New rides and attractions will lead to modest attendance growth, but only one major new regional park is planned in the US. France is the major theme park market in Europe, Middle East and Africa and has the most popular park in the region: Disneyland Paris. Disneyland Paris and Walt Disney Studios Park attract more than 12 million visitors annually.

    Improved economic conditions will lead to a rebound in Japan and South Korea, while increased investment and rising domestic tourism will stimulate the market in Australia.

    In the Latin America, more-stable economies will increase disposable income, which will contribute to growth in attendance and per capita spending.

    In Canada, the top two parks will grow slightly faster than the smaller parks, averaging 4.2 per cent compounded annually compared with 3.9 per cent annually for the smaller parks.