Julia Lamaison

Julia joined the BFI in 2017 and is responsible for running the Research and Statistics Unit (RSU) as well as other BFI related research and evaluation. This includes production of the BFI’s Statistical Yearbook, as well as ad hoc research studies and analysis on a wide variety of topics. Current projects include Screen Business 2021, an update of the economic impact of the screen sector tax reliefs, Film in the wider world, an audience analysis of film viewing across different screens and platforms, mapping the UK Animation sector, and Horizon Scanning looking at future trends which will impact the screen sector.
Related news

University of Leeds. Photo by Susannah Ireland.
News
Transforming knowledge into practical outcomes
The Centre for Cultural Value is connecting with international academic colleagues as part of a new COST Action: Connecting Critical ...

Image credit: Leeds Playhouse
News
Child of the North report highlights the value of creativity in education
A new report published by the N8 Research Partnership and the Centre for Young Lives calls for a new era ...

Walk This Way. Photo by Rob Eagle.
News
“What’s the point of it?” Art, community, and the challenges of cultural value
In a northern market town, a light and sound installation simultaneously sparks a wealth of community interactions and highlights the ...

Mafwa Theatre. Michka and Me. Photo by Tribe Four Films.
News
What happens next? Taking time to reflect, learn and move forward
As the Centre’s initial five-year funding period ends, we share our plans to take a deliberate and strategic pause to ...

Photo by Maxime Steckle.
News
Mass tourism, heritage, music, and debt: the curious case of opera and urban planning in Florence
How can we successfully acknowledge the challenges of protecting cultural heritage while also balancing the economic realities of a flourishing ...

Routing Diaspora Histories. Photo by Mya Onwugbonu.
News
Routing Diaspora Histories: Going Beyond Established Historical Narratives
In what new ways can we look at Black and diasporic identities within creative practice? Does history have to be ...