Who were watching films in China from 1949 to the Cultural Revolution? Research on this question has been patchy and frustrated by the kinds of sources available. Box office statistics, viewers' polls and commentaries, and even fandom were open to manipulation to put a positive spin on the growth of audiences and the appropriate popularity of particular films. This article uses a provincial film distribution list of all Chinese and foreign films distributed nationwide in these years to tease out indirect indications of the nature of film audiences. The number of prints struck in 35-mm and 16-mm formats, the language used (in the case of foreign films) and the timing of release all indicate the importance of a differentiation of audiences. Not all film-goers were expected to watch all films: particular titles suited particular viewers. Comparisons are made with a useful profile of the readership of literature in these years.