No full-text available
To read the full-text of this research,
you can request a copy directly from the authors.
Seeing is believing: The effect of film on visitor numbers to screened locations
Abstract
There is little in the way of academic publication which deals with the effect of television film on the popularity of film locations as visitor destinations. There is, however, some relevant material about the effects of motion picture film (movies) on tourism. This paper surveys material drawn from academic research, journals and newspapers about the effect of film, both television film and movies, on visitor numbers. Four UK case studies, which deal with television film, are presented. The distinguishing feature of these case studies is the hard data which demonstrate that film causes an increase in visitor numbers at the film location. The authors discuss related matters, including evidence of the disbenefits of television film to the location, put forward proposals for further research, and draw conclusions for the film and tourist industries.
... 11. Visitor numbers (12, 2 AA) Riley & Van Doren, 1992;Tooke & Baker, 1996;Riley et al., 1998;Busby & Klug, 2001;Fernandez Young & Young, 2008;Sangkyun Kim et al., 2009;Toma et al., 2009;Balli et al., 2013;Seaton, 2015;Tkalec et al., 2017;Mellinas, 2019;Du et al., 2020. 12. Loyalty (7, 3 AA) Iwashita, 2006;Connell & Meyer, 2009;Mansson, 2011;Sangkyun Kim, 2012d;Waysdorf & Reijnders, 2019;Teng & Chen, 2020;Li et al., 2021. ...
... This can cause disjunctions between tourist expectations and reality, especially when, as Bolan et al. (2011) point out, the main pull factor of audiovisual fiction productions is the scenery they show. Tooke & Baker (1996) argue that tourists will choose to visit the filming location when the setting is a fictitious, non-existent place (and the setting is therefore non-referential). However, when the setting is referential but not the same as the filming location, tourists will tend to visit the setting instead. ...
... The first studies of audiovisual fiction-induced tourism provide data on the increase in visitor numbers to the destinations shown in films and series based on visitor records, hotel reservations, information published in the media, the statistics of destination promoters, etc. (Riley & Van Doren, 1992;Tooke & Baker, 1996;Riley et al., 1998). This data is used to confirm the importance of the effect of audiovisual fiction on tourism. ...
Institutions are investing increasing amounts of resources in the promotion of their regions through audiovisual fiction. At the same time, there has been increasing scholarly interest in the relationship between audiovisual fiction and tourism, and particularly the effect of that relationship on potential tourists. Despite the inherently interdisciplinary nature of this field of research, very little attention appears to be given to what media studies, and particularly audience studies, could contribute. The purpose of this article is to offer a critical review of the literature on audiovisual fiction-induced tourism from the perspective of audience analysis. To this end, previous studies are categorised according to their objectives (e.g., to study the effect of films and series on destination image, travel motivations, experiences and intentions to visit, or tourist visits themselves), and an analysis is offered of their main findings and conclusions and of the use they make (if any) of audience analysis. The article then concludes with some proposals of ways to integrate audience analysis more fully into studies of audiovisual fiction-induced tourism to support research in this field. Highlights • Despite the inherently interdisciplinary nature of studies analysing audiovisual fiction-induced tourism, scholars have only occasionally considered reception, audience and media studies. • The analysis of the research published from 1992 to 2021 provides a picture of the evolution of research interests and the adoption of audience analysis. • A particularly productive concept in audiovisual fiction-induced tourism is the notion of involvement developed in audience analysis. 89 2023, 11, 88-126 Audiovisual fiction-induced tourism • The adoption of audience analysis has made it possible to consider new variables in the study of image, Motivations, and experiences. • The effect of audiovisual fiction productions on images, motivations, experiences or intentions is conditioned
... shows, TV dramas, series, soap operas, even songs and video clips turned out to be influential motivators for travelers (Tooke and Baker, 1996). The term "film tourism" has gradually been shaped as a concept over time Ritchie, 2006a, 2006b). ...
... The one stream attempts to construct a theoretical framework (Beeton, 2005;Busby & Klug, 2001;Croy & Heitmann, 2011) and the other stream aims to empirically test the concept with quantitative research Fernandez-Young & Young, 2008). The earlier studies were conducted to suggest whether film tourism phenomenon exist Van Doren, 1992, Tooke andBaker 1996). The visitor numbers assisted in proving the fact that films increase the number of visitors at the destinations featured in the films although few scholars such as Macionis and Sparks (2006) have kept their skeptical position on the issue. ...
... Some studies have been conducted and demonstrating that screen products are motivational pull factors for destinations (Riley & Van Doren, 1992;Tooke & Baker, 1996;Couldry, 1998;Beeton, 2001;Kim & Richardson, 2003). Macionis (2004) suggests that Dann's (1977) and Crompton's (1979) The Push and Pull Factor Theory of Travel Motivation provides an appropriate theoretical framework to examine film tourism from the consumer behavior perspective. ...
... Film-induced tourism has long been a subject of scientific interest, allowing for thorough multidimensional analysis through various approaches. Previous studies have examined the fluctuating number of visitors to locations featured in films and series (Beeton, 2005;Busby & Klug, 2001;Croy & Walker, 2003;Kim & Richardson, 2003;Riley et al., 1998;Tooke & Baker, 1996), the relationship between destination perception and the desire to visit prominent filming locations (Alcaniz et al., 2009;Baloglu, 2000;Bigne et al., 2001;Chen & Tsai, 2007;Lee et al., 2005), and the use of films as a tool to establish and enhance destination awareness and place familiarity, thereby making them popular tourist attractions (Frost, 2006;Kim & Richardson, 2003;Riley & van Doren, 1992). ...
... Macionis (2004) emphasized that some individuals develop deep emotional connections with the performance elements of a film, driving their desire to physically visit the places where the scenes were set. Similarly, Tooke and Baker (1996) suggested that tourists are often motivated not only to see film locations but also to engage with elements of the film's narrative. This is because the plot and storyline of many films immerse audiences, creating a sense that they are part of a real unfolding story (Kim et al., 2006). ...
... Experts attempted to narrate or describe "what is happening?" in the realm of film tourism phenomenon with particular attention to compiling anecdotal evidence drawn from case studies predominantly within Western contexts, such as the United States and the United Kingdom (e.g., R. W. Riley & Van Doren, 1992;R. Riley et al., 1998;Tooke & Baker, 1996). Until the inception of the first comprehensive research-based monograph presenting an introduction to the concept of "film-induced tourism" in 2005 (Beeton, 2005), our understanding of this phenomenon remained limited. ...
... Neither methodological nor theoretical development was yet established then, and several different yet similar terms had been coined and thus were interchangeable. These include but are not limited to "screen tourism" (Tooke & Baker, 1996), "media pilgrimage" (Couldry, 1998), "movie-induced tourism" (R. Riley et al., 1998), and "media-related tourism" (Busby & Klug, 2001). In this study, the generic term "film tourism" is adopted for the same rationale as in Kim and Reijnders' (2018) work on film tourism in Asia; that is, it is the most widely used term in related literature which intersects at media, culture, and tourism. ...
This study triangulates historiographical and scientometric reviews to provide a systems perspective on film tourism. The three phases of historiographical analysis (exploration, growth, and maturity) correspond to the three clusters of scientometric analysis – (i) initial research exploring film tourism development and management, (ii) growing the field through studies on film tourists’ perceptions and practices, and (iii) reaching maturity through extending research into different cultural contexts and meaning-making processes. Based on the analysis, we offer a set of directions for future research including the need to integrate sustainability research and film tourism studies in developing country contexts, as well as intertextuality and its impact on film tourism. We recommend research on developments in media consumption and its impact on film tourism, investigation of the relationship between digitalisation and film tourism, and the need for interdisciplinary research. Finally, we suggest combining product life cycle analysis to complement historiographical analysis for robustness.
... The latter is known as the "film effect" where a popular audiovisual project that was filmed and/or includes images and references from a specific geographic area contributes to increasing demand and ultimately visitors to that place. (Tooke & Baker, 1996;Riley, et al., 1998;Iwashita, 2003;Macionis, 2004;Beeton, 2005;Di Cesare, et al., 2009;Roesch, 2009;Croy & Heitmann, 2011). Different types of audiovisual productions affect in a dissimilar way different types of tourists, for example documentaries and travel shows catch the attention of more culturally oriented visitors while action movies and TV series may attract tourists interested in adventure or activities themed holidays (Tooke & Baker, 1996;O΄Connor et al., 2008;Connell, 2012). ...
... (Tooke & Baker, 1996;Riley, et al., 1998;Iwashita, 2003;Macionis, 2004;Beeton, 2005;Di Cesare, et al., 2009;Roesch, 2009;Croy & Heitmann, 2011). Different types of audiovisual productions affect in a dissimilar way different types of tourists, for example documentaries and travel shows catch the attention of more culturally oriented visitors while action movies and TV series may attract tourists interested in adventure or activities themed holidays (Tooke & Baker, 1996;O΄Connor et al., 2008;Connell, 2012). ...
In this paper is being examined the growth of international audiovisual productions being partially or entirely developed in Greece and the central role of the Greek public authorities in assisting this tourism-generating industry grow even more. This study tries to pinpoint the most common impediments that the audiovisual media industry confronts when deciding to select Greece as the location for an audiovisual project. Sustainable practices that are proposed aim to further attract and develop analogous initiatives in the Greek territory. Some of the most important benefits of the realization of such projects for the local communities are pointed out such as the increase in income, the creation of new jobs and the general boost of the local economy. The impact of audiovisual productions on tourism is also related to the "film effect" and the contributory role of audiovisual productions to promote a location’s attractions. This paper focuses on the international audiovisual productions industry’s expansion with an emphasis on the positive effects that the cultural-economic audiovisual productions have in strengthening both local economies and the Greek audiovisual sector.
... In the last decade, there have been significant advances in research on film tourism. In contrast to the first studies in the 1990s, which approached this novel phenomenon from the perspective of the benefits derived from tourism activity in destinations, especially in relation to film (Riley et al. 1998;Tooke and Baker 1996), research since 2000 has delved considerably deeper into this specific form of tourism (Connell 2012). ...
... Film-influenced travel has experienced a remarkable increase in recent decades, establishing itself as a global phenomenon (Yen and Croy 2016). Towards the end of the twentieth century, a number of scholars engaged in a more in-depth analysis of this type of tourism (Beeton 2006;Busby and Klug 2001;Tooke and Baker 1996). Araújo Vila et al. (2021) state that some researchers have created conceptual distinctions between the concepts of film tourism and film-induced tourism. ...
This research extensively discusses the connection between destination image and films influencing tourism. Despite the worldwide fame of the James Bond saga and extensive publications on the subject, research into the role of tourism promotion in the image of destinations is still scarce, and there is no specific focus on analysing promotional aspects in relation to film-induced tourism. This study focuses on the influence of cinematographic images on the destination image perception and promotion, specifically exploring the case of the James Bond saga as a practical case. With 25 films released since 1962, the James Bond saga provides a basis for evaluating cinematic presence in tourism promotion strategies. This research proposes the content analysis of the official tourist websites of 23 destinations where the James Bond saga was shot, which offer some tourist products linked to the saga. The key findings provide valuable insights into the promotion of James Bond saga tourism destinations, the role of films in promoting destinations, and the tourism products developed from the saga films. The results provide visual outputs about the target image of the film shooting locations, and the text analysis provides keywords linked to the theme. The study’s methodology contributes to the discourse on film tourism and destination image topics and brings practical and theoretical contributions to both academia and destination managers.
... Moreover, the sustainability of film tourism is uncertain since film tourism impacts might not be long-lasting (Beeton, 2016;Connell, 2005). Besides, film tourism might also have detrimental effects on local communities, with the presence of film tourists causing traffic congestions and overcrowding (Mordue, 2001;Tooke & Baker, 1996;Riley et al, 1998), loss of privacy (Bolan et al., 2007;Mordue, 2001), and strains on the local infrastructure (Bolan et al., 2007;Connell, 2005), for example. In the long run, more systemic effects can also be felt, related to the cost of land and housing (Kim et al., 2017), cultural commodification (Heitmann, 2010;Mordue, 2001;Riley et al., 1998), and environmental damage (Koh & Fakfare, 2020;Law et al., 2007). ...
... Existing research on the dynamics of film tourism in local communities tends to focus on what happens in a filming location after a film or TV series becomes popular -how visitation numbers increase (Riley et al., 1998;Tooke & Baker, 1996), how existing businesses deal with, or seize on, the sudden attention (Connell, 2005) or how residents perceive these effects (Kim et al., 2017;Mordue, 2001). What these studies often fail to address, however, is how film tourism comes into being and, most importantly, what targeted communities want and expect from film tourism projects in the first place. ...
... Many people are consuming many media, for example, art, literature, and movie. With the development of digital technology, internet consumption also overgrew in the early years, though television still dominated global media consumption (Tooke & Baker, 1996;Austin et al., 2016;Kantarci et al., 2016). ...
... Furthermore, people's willingness to read is also declining, as they desire to watch a movie, video, or television. Therefore, movies and television became the principal mass entertainment and effectively influenced tourism's attractiveness (Tooke & Baker, 1996;Beeton, 2016). This process certainly adds to the power of media to impact the community. ...
This research aims at identifying movie-induced tourism in terms of business related to audience personal motivation using a study on movie Ada Apa Dengan Cinta (AADC) 2. It uses qualitative research with a descriptive approach. The in-depth interviews from 17 informants are analyzed using conventional content analysis that would later raise the emergent themes to support the identification of movie-induced tourism in the study of AADC 2. The results of this study indicate that AADC 2 has a function to influence audiences traveling decisions on the featured locations after watching the movie, even though the film itself is not intended to promote a particular destination. This study’s audience’s personal motivations are grouped into two, namely general personal motivation and specific personal motivation. The audiences also revealed some additional considerations, such as accessibility and cost, in visiting the locations that influence their travel decision. It would be beneficial for a destination to incorporate filming into destination marketing plans by seeing a good case practice from AADC 2 movie with these results.
... Lee, 2016; H. Kim & S. Sung, 2003;A. Jo, 2002;Riley & Van Doren, 1992;Riley, Baker, & Van Doren, 1998;Tooke & Baker, 1996), and have been confirmed by the tourism motives for visiting places associated with popular culture (Cohen, 1986;Tooke & Baker, 1996;Riley & Van Doren, 1992;Herbert, 1996) and the characteristics of tourism experiences (Y. Gwon & D.Son, 2004;I.Choi & D.Son, 2004;Squire, 1994) have been identified. ...
... Lee, 2016; H. Kim & S. Sung, 2003;A. Jo, 2002;Riley & Van Doren, 1992;Riley, Baker, & Van Doren, 1998;Tooke & Baker, 1996), and have been confirmed by the tourism motives for visiting places associated with popular culture (Cohen, 1986;Tooke & Baker, 1996;Riley & Van Doren, 1992;Herbert, 1996) and the characteristics of tourism experiences (Y. Gwon & D.Son, 2004;I.Choi & D.Son, 2004;Squire, 1994) have been identified. ...
This study examined the impact of popular Korean dramas and Korean TV dramas
in Japan on the image of tourist destinations and visit intentions of Japanese
visitors to Korea. Destination image is a concept that encompasses not only
knowledge and trust in the attributes of a place and the outcome of a visit, but
also the emotions connected with the place. Questionnaires were distributed and
collected from Japanese who had watched Korean movies and TV dramas while
living in Osaka for analysis.
The collected materials were subjected to frequency analysis, reliability and
validity analysis, correlation analysis, and multiple regression analysis using SPSS
20.0. The results of the multiple regression analysis confirmed that all of the
variables of enjoyment and pity were significant variables among the emotional
response factors felt after watching movies and TV dramas as variables affecting
the cognitive image (nature/culture) and (tourism infrastructure).
This study is significant not only because it extends the study of images of tourist
destinations into the area of including emotional effects, but also because it
distinguishes and grasps the emotional effects of viewing movies and TV dramas
as emotional transference and indirect effects through cognitive processes.
... The influence of films on travellers' motivation to visit a country is determined by creating new images, altering negative images, and strengthening weak images of a destination while becoming the main asset in promoting tourism (Beeton, 2016). Literature also suggests that a destination's depiction of motion pictures is often positively highly valued as a travel destination (Tooke & Baker, 1996, Conrady & Buck, 2009Kim & Richardson, 2003;Beeton, 2004;Hudson & Ritchie, 2006;Iwashita, 2008;Bolan &O'Connor, 2008;Shani et al., 2009;O'Connor et al., 2010;Hudson et al. 2011). Most studies, however, on film culture tourism only explore the tourists' perception and behaviour of film tourism through the participation of or celebrity attachment (Lao et al., 2023,2). ...
... Nevertheless, the research demonstrated that using film locations as travel destinations is valuable. It is profitable to lure television and movie companies to a location in the first place and make the best subsequent use of that production (Tooke and Baker 1996;Zimmermenn and Reeves 2009, 158). Zimmermenn and Reeves, 2009, in their research about film Tourism, stated that "locations Are the New Stars". ...
The link between Cultural Heritage (CH), media, and film tourism has gained increasing attention in the literature over the last two decades. The 21st-century film tourism industry edutainment must reflect the experiences of 21st-century digital/virtual requirements. Film tourism is often considered a potential marketing channel for World Heritage Sites (WHS) and CH tourism. Limited research addresses how heritage film tourism providers employ and deal with the film industry and Archéocinema media for marketing communication. This paper attempts to discuss the relationship between the capability of heritage film tourism as a promotional tool combined with Archéocinema in constructing the optimistic destination image of heritage tourism and experience as it flows in both physical places and virtual environments. It argues that both environments, as dynamic and generate meanings, merge, and embody subjectivity and objectivity now in one process. This process suggests building a critical, informative, and promotional purpose by engaging in storyline and storytelling, learning about what and how film tourism and Archéocinema can offer and representing it in a modern key within and beyond the physical dimensions of place in an ethical and transparent approach according to the London Charter and the Seville Principles.
... The first theoretical foundations of this issue can be found as early as the 1990s. Authors as Mordue (1999); Riley and van Doren (1992); Tooke and Baker (1996); and others came up with pilot studies that confirmed the validity of film tourism and its contribution to the development of industry performance. Riley and van Doren (1992) film tourism as an underrated type of tourism promotion, which consisted of the research connected with the identification of socalled reasons for the pull tourism potential. ...
Tourist visits to a destination or attraction as a result of the destination being featured on television, video, or the cinema screen were the ones, that stimulated the creation and development of film tourism, which quickly established itself in global conditions. The main objective of the paper was focused on the identification and the perception of the conditions of film tourism development in Slovak republic. So far, a lot of film production has been realized in the country, but this potential has not yet been properly used for the creation of tourism products. Implementation of the study from a methodological point of view took place using several research methods. The pilot scientific abstraction of the issue was followed by the analysis of film conditions in the territory of Slovak Republic and their categorization. The given starting points were followed by the implementation of questionnaire research, the results of which were verified using several research methods such as Doornik-Hansen test, Kruskal-Wallis test. The results of the questionnaire research show a significant positive perception of the potential of filmmaking as a significant factor in the creation of new tourism products. At the same time, they identify key destinations that could potentially become objects of product realization. Due to the fact that this issue has not received adequate attention in domestic conditions, the study brings a new, more comprehensive view of the topic and emphasizes the power of the potential for further development.
... Since 1990, there has been a growing interest in analysing the impact of fiction films as a vehicle for tourism promotion. A large number of specialists have selected films that had a significant impact at the time on observing the behaviour of society (Carl, Kindon, and Smith, 2007;Hudson and Ritchie, 2006;Kim and Richardson, 2003;Riley et al., 1998;Riley and Van Doren, 1992;Tooke and Baker, 1996), films that have stimulated tourism in their respective locations (Aertsen, 2011). ...
Mass tourism in Spain became one of the most prosperous economic sectors in the mid-twentieth century, collaborating in the process of convergence with Europe, using the seductive power of the media, especially the cinema. A quantitative and (to a lesser extent) qualitative analysis methodology was followed. After reviewing the academic literature, the records of the National Film Library were consulted, selecting 87 films of tourist content and of national production, during the period of operation of the Ministry of Information and Tourism (1951-1977). The results have made it possible to identify the tourist segments, the cinematographic genres, the type of tourists, national or foreign, as well as the heritage elements and the services present in the tourist product of the time, visualizing the scenarios where the plots of the films are developed. The cinematography allows showing the elements that constitute the economic tourism model of Franco’s Spain, focused on towns on the Mediterranean coast, especially on the Costa del Sol. The research translates the antecedents of tourism marketing, using cinema as a means of communication that recognizes the economic transformation of Spanish society and the new image of Spain to be projected abroad.
... In other words, products or brands displayed in movies or television shows can influence viewers' product purchase intention. Likewise, exposure to filming locations through the media can motivate potential travellers to visit those locations, and this approach has been proven to be highly effective in encouraging people to travel (Riley et al., 1998: Sangpikul, 2018Tooke & Baker, 1996). ...
This study examined the effectiveness of place exposure in observational entertainment programs (OEPs) as a form of product placement (PPL) and its impact on viewers' intentions to visit depicted locations. An experimental study found that on-set placement had a greater influence on visit intentions than creative placement, particularly among viewers with high parasocial interaction with characters. The findings suggest that OEPs can enhance immersion and indirectly promote tourism to lesser-known destinations, providing valuable insights for the tourism industry to leverage screen content in attracting visitors.
... Over the past decade, there has been growing interest in studying this form of travel motivation (Hudson & Ritchie, 2006;Hamzah et al., 2016;Yen & Croy, 2016;Wen et al., 2018;. The impact of films on travel destination choices has been acknowledged since the 19th century, with Tooke and Baker (1996) exploring the potential for increased visitor numbers to locations featured in films. ...
Film tourism has emerged as a significant factor in enhancing tourist numbers by drawing visitors to locations depicted in movies and dramas. This study explores films' influence on Malaysians' perceptions and intentions to travel to these destinations. Utilizing the push and pull theory, the research examines how movies affect Malaysians' travel motivations and destination choices. Data were gathered through an online survey involving 267 Malaysian moviegoers, selected via convenience sampling. The findings indicate that several factors, including the reflection of personal values and interests in movies, significantly influence the intention to travel. Respondents expressed a stronger connection and likelihood to visit destinations featured in films that resonate with their interests. The study suggests that future research could employ different methodologies further to explore the impact of movies on tourist perceptions globally. Additionally, the findings underscore the potential for filmmakers, destination marketing organizations (DMOs), and local authorities to leverage films as powerful marketing tools to enhance tourist demand for real-life film locations.
... Image change due to exposure to mass media e.g., Gong and Tung, 2017;Hanefors and Mossberg 2002;Hudson et al., 2011;Kim and Richardson 2003; Riley et al., 1998;Shani et al., 2009;Tasci et al., 2007b;Tessitore et al., 2014;Tooke and Baker, 1996 ...
Purpose
Image change through visit experience with a destination is a common assumption, yet with rare empirical support to date. Thus, this study treats destination image as an interactive system of cognitive and affective components that are dynamic and changing through the course of an experience with a destination.
Design/methodology/approach
This longitudinal study tracks the change in images of 162 European visitors to the Gran Canaria Island one month before a two-week trip, on the last day of the trip, one month after the trip, and one year after the trip. A one-way repeated-measures analysis of variance with Bonferroni post hoc tests was conducted to evaluate the change in visitors’ cognitive, affective, or holistic images of Gran Canaria Island.
Findings
The Gran Canaria Island’s one-month post-visit image was more positive than the pre-visit image reflecting an improvement because of visitation. However, this improvement did not last long since the one-year post-visit image was not as positive as the one-month post-visit image. Surprisingly though, principle component analysis revealed more factors with more image items in the pre-visit image, whereas post-visit image factors were fewer in numbers and more generic, reflecting a reduction of details in the image after the visit.
Originality/value
This study is one of the very few efforts that contribute empirical evidence for the role of visitation in destination image evolution. It focuses on the pre and post-visit changes in the cognitive image and pre-, during, and post-visit changes in affective and overall images of a tourist destination in Europe.
... La investigación también ha analizado la capacidad de la ficción audiovisual de crear conciencia -o ampliar la conciencia-de la existencia de un lugar cuando este no tiene atractivos reconocibles (Croy, 2010;Tooke y Baker, 1996). En estos casos, su imagen aparece vinculada a una producción audiovisual gracias a las asociaciones con la trama y sus personajes (Hao y Ryan, 2013). ...
RESUMEN Introducción: El objetivo de este estudio es analizar cómo el cine de Pedro Almodóvar influye en la imagen percibida de España por los espectadores franceses a partir de los contenidos de sus películas, la diversidad de las audiencias y el grado de implicación de los espectadores. Metodología: Se recurre a veinte entrevistas en profundidad a espectadores franceses con un conocimiento alto del cine de Almodóvar. Las preguntas surgen de los estudios sobre persuasión narrativa, turismo inducido por la ficción audiovisual e imagen de los destinos turísticos Resultados: A pesar de que todos los testimonios tienen un amplio conocimiento del cine de Almodóvar, hay diferencias entre los tipos de espectadores en función de la familiaridad con España, el grado de consumo e implicación. Discusión: Relaciona los resultados con los hallazgos de la investigación previa sobre los efectos de la ficción audiovisual en la imagen de los destinos. Puede apreciarse un alto grado de correspondencia entre imagen proyectada por las películas y la percibida por los espectadores, la importancia de la familiaridad con el país, la relativa incidencia de los estereotipos proyectados pro su cine o su incapacidad para convertir lugares concretos en iconos. Conclusiones: El estudio demuestra que hay un vínculo ineludible entre representación, tipo de audiencia, recepción y efecto en la imagen. El alto grado de coincidencia entre la imagen proyectada por el cine de Almodóvar y la percibida por los espectadores está relacionada con su implicación con las películas y su familiaridad con España.
... Most of the literature has focused on the increase in visitor numbers to destinations depicted in films and TV series (e.g. Riley and Van Doren 1992;Tooke and Baker 1996;Hudson and Ritchie 2006). ...
... Similarly, Butler (1990) predicted that the impact of movies, videos, and television on tourism destinations would continue to grow over time due to their easy accessibility. Early studies on film tourism explored how films raised awareness of featured destinations and increased tourist visits (Tooke & Baker, 1996). ...
... tooke and Baker (1996) discuss films as recurring events, with DVD and video launches, television-airings, and reruns providing opportunities for frequent viewing. this frequent viewing strengthens the association between a film and its location (tooke & Baker, 1996); this is probably more relevant today than at the time of that article with the introduction of online streaming services such as Netflix and amazon. ...
The purpose of this article is to investigate the Northern Ireland tourism industry with a special focus on Dark (Troubles) Tourism. The method is two surveys one of Northern Ireland residents and one of potential tourists resident overseas, a focus group and interviews with tour-guides and a local MP. Findings suggest widespread support for Troubles Tourism from both residents and potential tourists and a supportive attitude from our interviewees. The two sides to the conflict are now working side-by-side in this new form of tourism, but it is important that each side tell only its ‘own’ story. from its own perspective, and does not speak for others. We conclude that, not over-commercialized, Troubles Tourism can educate people as well as being a source of fascination.
... This is reflected by many researchers. 11 Another impact of film-induced tourism is destination image alteration. This results from the creative and innovative factors in films/drama which are strategically necessary in the positioning of a tourist destination in the consumer´s mind. ...
Within the last decade, film-induced tourism has gained increasing attention from academics and practitioners alike. This is due to the fact that film tourism has become a growing phenomenon worldwide, driven by both the growth of the entertainment industry as well as the increase in international travel. However, the study of film-induced tourism is relatively new in tourism research. This paper is particularly concerned with observing & analyzing the effects of Turkish drama series on the motivation and travel decisions of Egyptian viewers. The objective of this research is to examine the tourism-inducing effects of these Turkish drama series on the motivation of Egyptian tourists to travel to Turkey. This field research is conducted through surveying a sample of Egyptian satellite-channel audience.
... Two examples of this can be found in the municipalities of Goathland-England-the setting for the fictional town of Aidensfield in the ITV1 series Heartbeat (1992-2010) [64] and Tobermory on the Isle of Mull-Scotland-where the children's series Balamory (2002)(2003)(2004)(2005), broadcast by the BBC, was shot [65]. In Goathland, Tooke and Baker [66] found that between 1991 and 1993, there was an increase in the number of long-distance bus arrivals of 278% and rail arrivals of 171%, compared to 8% for the number of cars. These authors also denounce the collapse suffered by the population and the damage it caused-the sinking of roads due to the weight of the coaches, destruction of green areas, etc.-and the access restriction measures that the city council had to impose. ...
This paper addresses an alternative perspective on tourism success, emphasising sustainability over traditional quantitative metrics such as arrival numbers. It explores the impact of fiction films and TV series on individuals’ mental representations of destinations featured on screen, as well as the capacity of film discourse to construct a brand aligned with local stakeholders’ interests. Qualitative methods have been employed, conducting a literature review on sustainable film tourism and destination branding. Local news and an interview with the head of the Peñíscola Film Office complemented academic insights. The primary goal is to examine the “Peñíscola de Cine” project as a paradigm of success, initiated by the city council of Peñíscola, Spain. This project positions the municipality as a natural film set through productions like Game of Thrones (2011–2019), illustrating how film can contribute to destination branding and community engagement. The study highlights the positive contribution of film tourism to sustainability by diversifying and de-seasonalising a territory’s offerings. It also attracts a more educated and environmentally conscious audience. However, it cautiously discusses the potential risks, as evidenced by misapplications in Goathland, England, and Skellig Michael, Ireland, following their appearances in Heartbeat (1992–2010) and Star Wars (1977–2019), respectively. The paper concludes by suggesting film-friendly measures for destination management organizations (DMOs), emphasising the pivotal role of film commissions and film offices in crafting effective marketing strategies and capturing the interest of audiovisual production companies.
... Considerando, portanto, os efeitos positivos do turismo cinematográfico e suas perspectivas futuras de crescimento, diversos estudos defendem um planejamento turístico de longo prazo conduzido pela organização de gestão de destino, envolvendo a participação de agentes públicos e privados dos setores turístico e audiovisual (Tooke & Baker, 1996;Hudson, 2011;Connell, 2012;Di Cesare & La Salandra, 2015;Irimias, 2015;Gomes, 2022). Além disso, UNWTO & Netflix (2021) entendem que a ampliação do impacto do turismo cinematográfico requer a produção de conteúdo audiovisual diverso, de qualidade e acessível. ...
Um melhor aproveitamento dos benefícios proporcionados pelo turismo cinematográfico depende de planejamento de longo prazo envolvendo as organizações de gestão de destino e as film commissions, organizações criadas para atração e apoio de produções audiovisuais. Este estudo focou nestas últimas, com objetivo de apresentar um panorama abrangente das film commissions brasileiras de atuação municipal e suas relações com o turismo cinematográfico. Para tanto, buscou-se analisar a estrutura institucional dessas organizações, além de ações de fomento ao turismo cinematográfico e sinergias com os atores do turismo. A pesquisa assumiu um caráter exploratório-descritivo, com abordagem quantitativa no tratamento dos dados, por meio da estatística descritiva. O universo consistiu nas film commissions brasileiras com atuação municipal, o qual totalizava dezesseis entidades em 2022. A coleta de dados foi realizada por meio da aplicação de uma survey, obtendo-se um retorno de dez comissões. Os achados da pesquisa mostram que as film commissionspossuem natureza pública, com equipes enxutas e baixos orçamentos. Verificou-se que elas concentram seus esforços mais no apoio às produções audiovisuais e menos em ações específicas de turismo cinematográfico. Orçamentos restritos e equipes pequenas foram considerados fatores limitantes à consecução da sua missão principal e ainda mais limitantes às ações de turismo cinematográfico.
... Recent technological advancements in MR, social virtual content, multiplatform distribution, and consumable serialized content have been driving the evolution of cinema and movies. While streaming services and other digital platforms have disrupted the traditional theater experience, the communal setting of watching a film on the big screen still holds a unique appeal [65] . With the integration of MR technology, movie theaters can offer an even more immersive experience by blending physical and digital elements. ...
The enduring appeal of traditional cinema viewing in the face of alternative experiences, including streaming services and emerging technologies, such as extended reality, is rooted in its esthetic, cultural, and social significance. While the psychological appeal of shared cinematic experiences has gained attention in scholarship, there is a need to further explore the potential enhancement of these experiences through the integration of immersive technologies. The communal nature of cinema fosters social connection, especially in a post-pandemic context marked by widespread social isolation. This study highlights the psychological benefits of shared cinematic experiences and emphasizes the next phase of cinematic evolution, which integrates mixed-reality components while retaining the traditional communal and focused viewing experience. By merging physical and virtual elements, mixed reality offers a unique avenue for exploring the intersection of technology and psychology in the context of cinema. In addition, this article addresses practical applications for filmmakers and industry professionals by outlining technical considerations for integrating mixed-reality elements throughout the filmmaking process, from production to distribution and viewing. The integration of mixed-reality components represents a significant step in the evolution of cinema, providing valuable insights into its potential implications for the research community and the film industry.
... Literatür incelendiğinde TV dizilerinin ve filmlerin yöreye ve turizm faaliyetlerine etkileri bakımından birçok çalışma gerçekleştirilmiştir (Tooke ve Baker, 1996;Busby ve Klug, 2001;Connel ve Meyer, 2009;Saltık v.d., 2010;Kuliyeva, 2012;Nuroğlu, 2013;Akdu ve Akın, 2016;Çiftçi, 2016;Taş v.d., 2017;Mandić v.d., 2017;Zavalsız ve Dağcı, 2019;Çelik, 2019, Güngör ve Uysal;Koçak, 2019;Yılmaz, 2019;Zavalsız ve Öztürk, 2020;Türten, 2021, Aydın ve Koçak, 2022). ...
Çalışmanın temel amacı film turizmi faaliyetlerinin yerel halka etkisinin incelenmesidir. Bu doğrultuda literatür incelenmiş ve araştırma modeli geliştirilmiştir. Modelin test edilebilmesi adına Kasım 2022-Şubat 2023 tarihleri arasında gerçekleştirilen uygulamada Sivrihisar’da yaşayan yerel halka ulaşılmış ve toplam 473 kişiye anket uygulanmıştır. Eksik ya da hatalı doldurulduğu tespit edilen 27 anket analize dâhil edilmemiştir ve 446 anket formu değerlendirmeye alınmıştır. Veriler doğrultusunda kullanılan ölçeklerin geçerliliğinin tespiti için faktör analizi yapılmıştır. Faktör analizi yapıldıktan sonra, değişkenler arasındaki ilişkileri belirlemek için YEM kullanılmıştır. Yapılan analiz sonuçlarına göre kişisel faydanın, turizm desteği, turizmin algılanan pozitif sosyokültürel etkileri, turizmin algılanan pozitif sosyoekonomik etkileri üzerinde anlamlı bir etkisinin olduğu görülmüştür. Buna ek olarak turizmin algılanan pozitif sosyokültürel etkileri, turizmin pozitif sosyoekonomik etkileri ve turizmin algılanan negatif sosyokültürel etkilerinin turizm desteği üzerinde anlamlı bir etkiye sahip olduğu sonucuna varılmıştır. Yapılan çalışmanın en önemli katkılarından birisi genel turizm etkilerinden farklı olarak film turizminin etkileri kapsamında sunulan değişkenleri tek bir modelde ele almasıdır. Toplumun kültürel değerlerinin korunarak geliştirilmesi, doğru planlama ve yönetimin sağlanarak daha fazla kişisel fayda elde edilebilmesi için yerel toplumun daha fazla dâhil olduğu aktivitelerin yapılması; turizmin algılanan negatif sosyokültürel etkilerinin en aza indirgenmesi, algılanan pozitif etkilerinin en üst seviyeye çıkarılması için bilinçlendirme, eğitim ve yerel katılımın artırılması önerilmiştir.
... Among visitors to the island of Jersey, where the crime drama Bergerac is set, 30% of winter visitors and 40% of summer visitors said they had visited the island as a result of the television program. Castle Howard, one of the places where Brideshead Revisited was filmed, saw a 30% increase in the number of visitors after the film was released (Tooke & Baker, 1996). Riley et al. (1998) analyzed 12 films in a study investigating film-induced tourism. ...
Visual media has played a significant role in driving various transformations since its inception. The media has often portrayed gastronomy as a visual spectacle, showcasing allure, a reassuring image, and authenticity. Countries endeavor to enhance their gastronomy tourism by not only presenting their human and natural assets but also highlighting their distinct food and beverage cultures through visual media. This study aims to analyze the depiction of street food in Turkey in both national and international visual media and to explore the extent to which the promotion of street cuisine has been leveraged within the context of gastronomy tourism. The study seeks to contribute to future efforts aimed at making street food a compelling attraction in Turkey's gastronomy tourism. For this study, an extensive literature review was conducted and semiotic analysis was applied to visual media components. National and international productions featuring Street food in Turkey were analyzed across ten distinct categories. İstanbul emerged as the most prominently featured city in these productions. Furthermore, İstanbul's multicultural nature and its history of migration from various regions allow it to reflect the culinary cultures of different parts of Turkey. Based on the findings within the scope of this study, the emotions, thoughts, and messages evoked by visual media materials depicting street food in Turkey can be summarized as follows: a sense of camaraderie, social engagement, delightful gastronomic experiences, intriguing encounters, a feeling of familial warmth and authenticity, nostalgia, a sense of belonging, cross-cultural interaction, and visually striking presentations.
... They have also identified some critical factors that contribute to destination promotion. If the story line and the site are inter-linked, the audience is more likely to be emotionally involved with the film (Tooke and Baker 1996). Source: Own elaboration The box-office success of a film can be a good predictor of movie-induced tourism (Grihault 2003). ...
... They have also identified some critical factors that contribute to destination promotion. If the story line and the site are inter-linked, the audience is more likely to be emotionally involved with the film (Tooke and Baker 1996). [199][200]195;; see also performing animals 196 -197, 198, 199 -200 representation 16, 17, 18, 20, 32, 63; diegesis 19 -20 ...
The book offers an interdisciplinary overview of the film and place relationship from an intercultural perspective. It explores the complex domain of place and space in cinema and the film industry's role in establishing cultural connections and economic cooperation between India and Europe.
With contributions from leading international scholars, various case studies scrutinise European and Indian contexts, exploring both the established and emerging locations. The book extends the dominantly Britain-oriented focus on India’s cinema presence in Europe to European countries such as Italy, Switzerland, Poland, Slovenia, Finland, and Sweden, where the Indian film industry progressively expands its presence. The chapters of this book look at Indian film production in Europe as a cultural bridge between India and Europe, fostering mutual understanding of the culture and society of the two regions.
This interdisciplinary book will be of interest to researchers in film studies, cultural anthropology, cultural geography, tourism, economics, sociology, and cultural studies. It will also be interest to practitioners working in local authorities, destination management, tourism, and creative business, all of whom see the value of film production in attracting visitors, investment, and creating new networks with local economic actors. The book offers much-needed data and tools to translate their professional goals and potentials into effective regional strategies and activities.
... All tourism actors who work at the Taman Ayun Tourist Attraction are native residents of the Mengwi District aged 35-50 years. Employees who can master foreign languages, especially English, will be given better salaries compared to other employees (Tooke & Baker, 1996;Neuvonen et al., 2010). However, based on empirical observations in the field, the quality of human resources is still low, especially in terms of mastery of foreign languages. ...
Tourist attraction Taman Ayun is a tourist place on the island of Bali which is located in the village of Taman Ayun, District Abiansemal, Badung, Bali Province. The tourist attraction Taman Ayun is present in the form of long tail macaques, Pala Forest, and Pura Bukit Sari as its appeal. The number of tourists who visited Travel Attractions Taman Ayun from time to time experienced an increase after falling dramatically in 2012, amounting to 54 637 people, but the increase in the number of tourists is still quite slow and when compared with the visit of the peak that occurred in 2009 amounted to 225 672 people is still very low. The research aims to the right marketing strategic to increase rapidly tourists to visit Taman Ayun Travel Attractions. The method used in this study is through questionnaires, observation, library research, documentation, and interviews with the manager. The data obtained were analyzed using descriptive analysis techniques were used to analyze the marketing mix and strategy using SWOT analysis as well as using a Likert scale to analyze the questionnaires that were distributed.
... Por fim, o turista de filmes específicos tem como principal objetivo em suas viagens visitar locais de forma ativa que possuam ligações com as produções audiovisuais, ou seja, se refere ao fato de que filmes e demais produções audiovisuais têm efeito indutor para o turismo, atraindo pessoas para visitarem locações retratadas nas produções audiovisuais (Tooke & Baker, 1996;Riley, Baker, & Van Doren, 1998;Busby, Huang, & Jarman, 2012). Nesse sentido, Singh & Best (2004) apontam que as atrações icônicas, ou seja, as representações realizadas nas produções audiovisuais são os principais motivos para que os turistas visitem as locações. ...
O turismo cinematográfico é um segmento que vem ganhando forças nas últimas décadas. Compreender o que induz uma pessoa a realizar viagens a lugares que foram cenários de filmes é importante para o mercado turístico traçar suas estratégias e ações. A saga Harry Potter, escrita por J. K. Rowling, ficou mundialmente famosa quando adaptada para os cinemas pela Warner Bros e tem se relacionado com práticas de turismo cinematográfico em diversos países do mundo, incluindo o Brasil. Tanto os locais descritos nos livros e utilizados nas filmagens da saga, como também equipamentos turísticos inspirados na saga construídos especificamente para captar esse público são visitados por turistas de todo o mundo. Considerando, portanto, sua importância cultural, popularidade e influência no público, escolheu-se a saga cinematográfica Harry Potter como estudo de caso do presente artigo, com o objetivo de analisar o perfil do turista cinematográfico brasileiro fã de Harry Potter. Para tanto, esta investigação buscou identificar as motivações e as práticas do turista cinematográfico brasileiro relacionadas à saga. Foi realizada uma pesquisa exploratório-descritiva com abordagem quantitativa. Como principal resultado, verificou-se que pessoas praticantes do turismo cinematográfico influenciadas por Harry Potter se encaixam no perfil do turista de filme específico, uma vez que realizam suas viagens sendo motivados pelo desejo de conhecer de perto as locações de filmagens.
Introducción: El binomio turismo-cine (turismo inducido o turismo de pantalla) ha sido ampliamente investigado, desde que, en el año 1992, Riley y Van Doren vincularan las dos industrias y vaticinaran su repercusión positiva en la economía. Uno de los recursos susceptibles de reforzar los lazos entre pantalla y turismo, aún por abordar en los estudios sobre screen tourism, es el de “referentes culturales”, directamente relacionados con la “afinidad cultural”. El objetivo de esta investigación es reflexionar sobre el uso de este componente en la trama de una ficción audiovisual como factor para acercar los rasgos distintivos de una comunidad al espectador y generar así en él un mayor interés que podría derivar en una visita turística al lugar representado. Metodología: Se elabora una ficha de análisis que sirve para identificar los referentes culturales en la primera temporada de la serie Emily in Paris. Resultados: La información se presenta en cuatro niveles: narratológico, icónico, psicoanalítico y experiencial. Discusión: Se constata que Emily in Paris es un paradigma en la construcción de la narración a través de referentes culturales. Conclusiones: La inclusión de referentes culturales en una serie, utilizada como estrategia para fomentar el turismo, solo puede ser efectiva si la trama es contemporánea al espectador y si las localizaciones mencionadas son reales.
Bu çalışmanın amacı, dizi ve film turizmi kavramını detaylı bir şekilde incelemektir. Bu amaç doğrultusunda dizi ve film turizminin tanımı yapılmış, tarihsel gelişimi hakkında bilgi verilmiş, daha sonra dünyadan ve Türkiye’den verilen örnekler ışığında dizi ve film turizminin etkilerine değinilmiştir. Çalışma örnek olay ve sonuç kısımlarındaki değerlendirmeler ile sonlanmaktadır.
El influjo creciente y permanente de las imágenes ha llegado a límites
insospechados, al grado de convertirse en garantía de la propia realidad, el
turismo inducido por el cine se entiende como aquellas personas que buscan
lugares de interés o sitios vistos en la pantalla grande, convirtiéndose en
turistas inducidos por el cine, además de ser una herramienta de promoción
y un factor de inducción que estimula los viajes, es un fenómeno en crecimiento
a nivel mundial, en el caso de Puerto Vallarta, destino maduro del
pacífico mexicano, el objetivo del presente trabajo es identificar las películas
que han sido filmadas en Vallarta, tratando de establecer la influencia que
estas han ejercido en su formación como destino turístico y determinar su
efectividad como herramienta de promoción. Se utilizó una investigación
exploratoria. Algunos de los resultados más relevantes son que en Puerto
Vallarta hasta 2019 se habían filmado 21 películas, de las cuales se identifican
dos películas que han sido determinantes en la promoción del destino turístico
y que han marcado momentos claves en su desarrollo.
Peer-to-peer (P2P) online experience offers low-cost immersive cultural experiences, but enterprises fear that it will negatively affect local tourism marketing. This study proposes a sequential mediation model to explore how P2P online experience stimulates travel intentions and attraction recommendations. We find that P2P online experience increases cultural presence, which in turn leads to higher situational empathy. This increased empathy then contributes to predicted tourism experience, which ultimately shapes behavioral intentions toward travel and attraction recommendations. Furthermore, the study finds that the impact of P2P online experience on behavioral intentions is stronger for consumers with lower cultural cognitive levels of tourist attractions. Our findings demonstrate the importance of P2P online experience on cultural presence and situational empathy in shaping travel behavior.
Push and pull factors of heritage tourism: this thesis finds push and pull motivational factors of heritage tourism. Push and pull factors are internal and destinations' attributes.
Industrial decline, changes in agricultural production, natural and human-caused disasters, geopolitical turmoil, environmental change, cultural desertion, dam construction, and transportation bypasses often result in deserted communities worldwide. These deserted communities are sometimes referred to as ghost towns, sharing common attributes of abandonment, dereliction, and decay. However, many of these ‘frozen landscapes’ experience a thawing through intentional (or sometimes organic) efforts to repurpose them as film or television sets, tourist attractions, and/or commuter towns. This chapter examines several types of ghost towns based upon their source of abandonment, providing worldwide examples of each of these. It also highlights the role of tourism, filmmaking, and new bedroom community development in thawing the frozen landscapes most often associated with ghost towns.
Mexico’s Cultural and Tourism Diplomacy is starting to bloom in recent years. In particular, global trade and multiculturalism have fostered fertile ground for these diplomacy, and international trade has become new channel of Cultural and Tourism Diplomacy.
Based on these foundations, this research takes “Mexican Cinematographic Industry” as its research object, and it also takes “Mexican Cinematographic Industry’s abroad releases” as an example to put forward the hypothesis that if there is an increase in international trade of Mexican Cinematographic Industry releases there could be an increase in the number of overseas tourists visiting Mexico, which will in turn be beneficial to the overall development of the Mexican economy.
Through qualitative and quantitative research, this research found a positive correlation between the international trade of cultural products, such as the Mexican Cinematographic Industry’s releases abroad and international tourists visiting Mexico. Therefore, the research concludes that the hypothesis will be accepted if implemented correctly. This means that, combiding Cultural and Toourism Diplomacy and using the Mexican Cinematographic Industry there is a potential of increasing the number of tourists visiting Mexico. Hence, increasing revenue and developing Mexico’s economy in the process.
Key words：Film-Tourism, Cultural Diplomacy, Tourism Diplomacy, Mexican Cinematographic Industry, Mexico
Turizm sürekli değişen ve gelişen dinamik bir olgudur. Sürdürülebilirlik konusunun turizm sektörünü hem arz, hem de talep odaklı olarak etkileyen ve yön veren önemli bir eğilim olarak son dönemlerde önemini arttırdığı görülmektedir. Kitle turizminin çevreye verdiği geri dönüşü olmayan zararlarla birlikte, buna bir tepki olarak sürdürülebilir turizm türlerini tercih eden bilinçli bir turistik tüketici kitlesinin oluşması sektör üzerinde daha sürdürülebilir turizm türlerine yönelim açısından önemli bir baskı oluşturmuştur. Post-modern turist olarak nitelendirilebilecek günümüz turisti kültürel ve doğal değerlerin korunduğu ekolojik (çevreci) seyahat bilincine sahiptir ve seyahatlerini bu doğrultuda planlayarak turizm aktivitesine katılım sağlamaktadır. Turizm sektöründeki değişimlerin en önemli kaynağı insanların turistik ihtiyaçlarında ortaya çıkan değişimlerdir. Teknolojinin gelişmesi, refah seviyesinin yükselmesi ve eğitim seviyesinin artması gibi faktörler turistleri daha bilinçli hale getirerek farklılık ve yenilik arayışına itmiştir. Değişen tüketici tercihleri ve istekleri yeni turizm türlerinin ve anlayışlarının ortaya çıkmasına katkı sağlamaktadır. Değişim, turizm olgusunu doğrudan etkileyerek farklı perspektifler sunmaktadır. Bu perspektifler, farklı olanı denemeye ve paylaşmaya dönük olarak yaygınlık kazanmaktadır. Bu kitap bölümlerinin temel amacı bu felsefeden hareketle turizm ile ilişkili yeni bakış açılarını ortaya koyarak dünyadan ve Türkiye’den örneklerle çeşitlilik sağlamaktır.
Virtual reality (VR) tourism e-commerce platforms (VRTEPs) can provide trial experience for tourists, which is easy to trigger irrational impulse buying. Based on cognitive emotion theory and S-O-R model, this study innovatively explores the impact of the multi cue-interaction stimulation (the interactivity of VR display and the empathy of text display) of VRTEPs on consumers’ impulse buying intention through the mediating effect of new cognitive and emotional responses, namely, interactive pleasure (perceived usefulness and immersion). The results reveal that: (1) The interactivity of VR display stimulates interactive pleasure, then positively affects impulse buying intention. (2) The empathy of text display only stimulates perceived usefulness to positively affect impulse buying intention. This study also finds that the interactive comparison has a negative moderating effect on the relationship between immersion and impulse buying intention. These findings contribute to developing the new theory for effectively marketing using highly interactive new technology on VRTEPs.
This article analyses the production of audiovisual fiction as an instrument for disseminating the image of the Alhambra (Granada) and the Royal Alcazar (Seville) for tourism purposes. The methodology used was twofold: qualitative, carrying out an exhaustive bibliographic review, but also quantitative, using primary sources, through the identification of the films shot, visualization and collection of metadata of the scenes filmed. The information, previously structured, also allows a double analysis: temporal, considering five stages, and spatial, identifying and mapping more than twenty significant places within both sites. In its temporal dimension, the main conclusion refers to the different significance of cinema in the dissemination of the image of both sites: very prominent during Franco’s regime, with a profusion of foreign productions (Alhambra), while from the democratic period onwards it is the Royal Alcazar which offers a greater number of filming. In its spatial dimension, it has been verified that the 19th century formats in charge of disseminating images established a canon of places according to a certain degree of exoticism, which has been perpetuated by cinematography without significant changes.
استهدفت الدراسة الكشف عن تأثيرات السياحة الدرامية على دوافع الجمهور المصري المحتمَلة وسلوكياته المخطَّط لها لزيارة المقاصد السياحية الداخلية، وتنتمي هذه الدراسة إلى الدراسات الوصفية والتي وظفت منهج المسح بالاعتماد على الاستبانة كأداة لجمع البيانات من عينة متعددة المراحل وفقا لمحاكاة “MONTE CARLO”، وقد شملت عينة الدراسة عينة قوامها (667) مبحوثا من الجمهور المصري. وقد خلصت الدراسة لعدة نتائج، أهمها: ارتفاع نسبة المشاهدين من الجمهور المصري للدراما التليفزيونية المصرية بكثافة زمنية متوسطة، وجاءت المتعة والتسلية في مقدمة أسباب المشاهدة، بينما جاء في مقدمة أسباب عدم المشاهدة عدم امتلاك الوقت الكافي لمشاهدتها، كما تمتلك الدراما المصرية قدرة على جذب الجمهور المصري للأماكن السياحية التي يشاهدونها بالمسلسلات التليفزيونية وكانت صورة الأماكن السياحية أهم عناصر الجذب، أيضا تباينت النتائج حول مفهوم السياحة الدرامية؛ مما عكس درجة دوافع "مرتفعة" نحو زيارة الأماكن السياحية المصرية التي شاهدوها بالمسلسلات التليفزيونية، وفي إطار متصل أفادت نتائج نمذجة المعادلات الهيكلية (SEM) أهمية كبيرة لمتغير المعايير الشخصية على نية الجمهور المصري في زيارة المقاصد السياحية الداخلية، يليه متغير المواقف تجاه السياحة الدرامية، ثم متغير السيطرة السلوكية المتصوَّرة، ثم الدوافع المحتمَلة لزيارة المقاصد السياحية الداخلية، وأخيرا وبشكل سلبي كثافة التعرض للمسلسلات التليفزيونية المصرية.
Motivational research has suggested that the source of data about destinations may influence the desire of tourists to visit those destinations. “The medium is the message” according to McLuhan. In examining the nature and development of tourist destinations it is clear that a variety of media sources have shaped the information about and images of those destinations. The paper examines, by way of general discussion and the use of specific examples, the role of the different forms of media in shaping international travel patterns. The paper discusses the links between literature and the establishment of 19th and early 20th Century tourist destinations in determining a pattern still prevalent today. It examines the use of images in popular visual media forms in creating new destinations and expectations among international travellers. A broad general model linking the form of media, the type of tourist and the characteristics of the destination is proposed and discussed briefly.
This article examines the numerous impacts of hallmark events on the destination area which has generated the event. These effects include not only the economic results but also the physical, socio-cultural, psychological, and political impacts such events have.
There are many types of tourism promotion and many more potential sources of tourist attractions, but in the category of ‘hallmark events’ one type of attraction and promotion has been largely ignored. This paper states the case of motion picture films' ‘pulling’ potential of the US tourist. Along with the notion of US tourists travelling to movie sites within the USA the paper suggests that the movie ‘Crocodile Dundee’ increased awareness of Australia's attractions in the minds of potential travellers. Reasons for attraction potential appear to lie within the motivations of escape, pilgrimage and a quest for untainted environments. These motivations are illuminated for the viewing public through movie storylines offering extended periods of vicarious contact with the destination and its attraction features.
Tourism and environment: realities of the 1990's
- Coates
Illuminations - can of corn
- Sanders
Following the stars to Seattle
- Churchill
Hangover from too much wine
- Stynes
Tinseltown discovers the golden city
- Harvey
Village hits the big time
- Green
Where the fans are flocking
- Scott
Where to see those famous views
- Ruler
Moors Hollywood counts cost of fame
- Wainwright
£62m windfall from films and TV is just the start
- Harvey
Movies as tourism promotion: A “pull” factor in a “push” location
- Riley
A great escape from armchair adventures
- Wickers
Tourists follow trail of monastic sleuth
- Curphey
“Exploited” stately homes issue rules for filmmakers
- Bedlow
Motorists face ban from overcrowded beauty spots
- Eason
Promotion of overseas tourism through media fiction
- Cohen