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According to Yubin et al. (2023), films serve as a medium for conveying visual representations of various elements such as landscapes, buildings, landmarks and monuments, which provide a contextual backdrop for the narrative. According to Vila et al. (2021), the number of global tourists visiting film locations exceeds 80 million. In addition, according to Yubin et al. (2023), the promotion of tourism is facilitated through the utilisation of films, which serve to create novel representations, counteract negative perceptions and enhance the portrayal of underdeveloped destinations. A significant number of individuals engage in the practise of visiting movie sets with the intention of re-experiencing the emotional impact of the film. The devaluation of film marketing has been observed. This method represents a highly indirect approach to enticing tourists. This chapter examines the comprehension of travellers' motivations and the perception of film-exposed locations in Bollywood films (Salnick, 2023). Film tourism provides a tailored and personalised experience for individuals. The difficulty in measuring this concept arises from factors such as the emotional responsiveness, personality traits, background and interpretive abilities of the viewers in relation to media images. According to Castro et al. (2023), the inclusion of a destination on a screen can serve as a means to enhance the diversity of a site's tourist offerings or mitigate the effects of seasonality by providing opportunities for experiential activities, showcasing notable landmarks or serving as a filming location. Film destinations have the potential to gain popularity and benefit from advertising and the perception of spectators.

The aim of this paper is to analyze the interrelationship between film-induced tourism and visits to theme parks by tourists and examine the most viewed movies worldwide (2010–2022) which are related with theme parks and their attractions.

The methodology used in this study is a set of qualitative and quantitative indicators for measuring the most visited theme parks worldwide and the most viewed movies that have allowed to answer the research questions.

This research provides a new contribution to tourism and entertainment industries. Results have shown that film-induced tourism can be the perfect marketing tool to attract more tourists to theme parks through movies and their real or fictional characters represented in films such as Marvel, Minions, Avatar, Harry Potter and Disney, amongst many others. These famous characters are part of theme park’s rides to attract tourists to visit film theme parks These rides allow users to travel in a fantasy experience and interact with film characters of cartoons or fictions. There is a high correlation between film-induced tourism and theme parks’ attractions. Film-induced tourism provides great benefits to the society, theme parks, cinemas and tourist destinations. Indeed, movies help to increase the number of visitors to theme parks. In 2019, 215 million people visited the top 20 theme parks worldwide analyzed in this study, this figure is quite lucrative to entertainment and tourism sectors, local and regional economies where these theme parks are localized.

This study presents the importance of theme parks at tourist destinations because theme parks are an extension of movies, thus is, the end of the physical perfect experience at theme parks which began in a movie seat or on your TV/videogame/PC screens.

本文的主要目的是分析电影引起的旅游和游客参观主题公园之间的相互关系, 并研究与主题公园及其景点有关的全球最受欢迎的电影（2010-2022年）。

本研究使用的方法是一套定性和定量的指标来衡量全球访问量最大的主题公园和观看次数最多的电影, 使我们能够回答本研究中提出的问题。

这项研究为旅游和娱乐业提供了新的贡献, 结果表明, 电影引起的旅游可以成为完美的营销工具, 通过电影及其影片吸引更多的游客到主题公园。通过电影和他们在电影中所代表的真实或虚构的人物, 如漫威、小人、阿凡达、哈利波特、迪斯尼等, 主题公园。这些著名人物是主题公园景点的一部分, 以吸引游客参观与电影有关的景点。这些景点让游客有一个幻想的体验, 并与卡通人物互动。电影引起的旅游和主题公园景点之间存在着高度的相关性。我们必须认识到, 电影引发的旅游为社会、主题公园、电影院和旅游目的地提供了巨大的利益。事实上, 电影有助于增加主题公园的游客数量。2019年, 有2.15亿人参观了本研究中分析的世界前20大主题公园, 这个数字对于娱乐和旅游部门、这些主题公园所在的地方和区域经济来说是相当有利可图的。

本研究揭示了主题公园在旅游目的地的重要性, 因为这些旅游景点是电影的延伸, 也就是说, 主题公园及其基于电影和动画的景点是游客在主题公园生活体验的最后一部分, 而这种体验是从电影院的座位上、电视、视频游戏或电脑屏幕前开始的。

El principal desafío de este artículo es analizar la interrelación entre el turismo inducido por las películas y las visitas a los parques temáticos por parte de los visitantes, y examinar las películas más vistas en todo el mundo (2010-2022) relacionadas con los parques temáticos y sus atracciones.

La metodología utilizada en este estudio es un conjunto de indicadores cualitativos y cuantitativos para medir los parques temáticos más visitados a nivel mundial y las películas más vistas que nos han permitido responder a las preguntas planteadas en esta investigación.

Esta investigación proporciona una nueva contribución a las industrias del turismo y el entretenimiento. Los resultados han demostrado que el turismo inducido por el cine puede ser la herramienta de marketing perfecta para atraer más visitantes a los parques temáticos a través de películas y sus personajes reales o ficticios representados en películas como Marvel, Minions, Avatar, Harry Potter, Disney, entre muchos otros. Estos personajes famosos son parte de las atracciones de los parques temáticos para atraer a los visitantes a visitar las atracciones relacionadas con las películas. Estas atracciones permiten a los visitantes tener una experiencia de fantasía e interactuar con personajes de películas de dibujos animados o ficción. Existe una alta correlación entre el turismo inducido por el cine y las atracciones de los parques temáticos. Debemos reconocer que el turismo inducido por el cine ofrece grandes beneficios a la sociedad, parques temáticos, cines y destinos turísticos. De hecho, las películas ayudan a aumentar el número de visitantes a los parques temáticos. En 2019, 215 millones de personas visitaron los 20 parques temáticos más importantes del mundo analizados en este estudio, esta cifra es bastante lucrativa para los sectores de entretenimiento y turismo, y la economía local y regional donde se encuentran estos parques temáticos.

Este estudio revela la importancia de los parques temáticos en los destinos turísticos, dado que estas atracciones turísticas son una extensión de las películas, es decir, los parques temáticos y sus atracciones basadas en películas y animaciones son la parte final de una experiencia vivida por los visitantes en dichos parques y que comenzó en un asiento de cine, frente a su TV, un videojuego, o pantalla de ordenador.

The goal of the study is to underline “Cinematic Architecture” as another source of architectural thinking and research. This study is also a response to the shortage in empirical research on architecture in the cinema. Moreover, the study introduces the architectural components that qualify the cinematic spaces to be influential cinematic experience. This is in addition to investigating the impact of these components on the viewers' cognitive and emotional experience of films.

In the reported study, an empirical experiment examined scenes from three different movies as experienced by a selected group of audience of movies fans (architects and laypersons). The audience was asked to report feelings the audience had about each scene using a questionnaire that was designed for this purpose, and the audience was asked to write down the aspects that affected the audience's emotions. The experiment evaluated selected emotional states and could specify the architectural features and/or objects that significantly contributed in inducing these emotions.

This study's findings concluded that emotions, which exist in the positive margin of the emotions “circumplex model,” were influenced by architectural components that were different from those that influenced emotions which lie in the negative margin of the model.

As for filmmakers, the study contributes in developing filmmakers' knowledge about the role of architecture in scenic creation and thus how that knowledge enhances filmmakers' film narrative and the narrative's spatial imagery. As for academia, this study contributes in developing the knowledge about film cognition as related to architectural semiotics. In the context of behavioral approach to architectural design, a behavior setting which is the basic element in environmental design can be dramatized by applying a cinematic narrative to a human activity system within a milieu of architectural design elements.

This study is important for architects, as the study provides architects with an alternative tool for fictional experience and for testing architectural ideas through cinematic architecture. This study also helps in developing new venues for the practice of architecture into the world of fiction. This study also contributes in developing the trend that architectural design thinking can learn from cinematic thinking and practice.

This study introduces an empirical approach to evaluate architectural entities as part of cinematic experience. This study also comes as a response to the shortage in empirical research on architecture in the cinema.

This research aims to analyse the degree of influence that viewing frequency and preferences for movies and television (TV)/platforms series and aspects related to movie destinations have on the socio-demographic profile of the tourist interested in film tourism.

An artificial neural network (ANN) is used, in which the input values correspond to the questions asked through the questionnaire and the estimated output values are the socio-demographic profile.

Low frequency of attendance at movie theatres, especially amongst the youngest. Profiles with a higher level of education value the cultural elements in the destination more. A high-income profile is revealed that considers the visit to the film destination as a secondary reason for their trip since they value the proximity to the main holiday destination and show that this visit does not bring them greater satisfaction than other activities. Experiential tourism is another aspect valued by the profiles with the highest income, which can be easily related to film tourism.

Customised input values estimate specific output values, building “identikits” of tourists based on the responses incorporated into the model and easily customisable by the researcher, making them useful in film tourism products and service elaboration. Although this method has been used successfully on other tourist profile types, no studies of this type applied to film tourism were found, and this work aims to pioneer this line.

This study investigates the UNESCO Creative City of Gastronomy Network as a global spatial brand and explores the tensions that emerge when this global brand is appropriated locally.

This paper is based on case study research that uses critical discourse analysis to identify the implications of a transferable learning capacity.

This paper identifies three different types of tensions in place brand management that emerge during the local appropriation of global brands: tensions inherent in multi-scalarity, tensions associated with integrating governance and strategy-related tensions.

This study advances the theoretical understanding of the spatial complexity inherent in place brand management practices by focusing on the UNESCO Creative City of Gastronomy Network as a global brand in a Scandinavian context.

The purpose of this paper is to develop a conceptual framework that examines the impacts of changing seasons on tourism.

The paper presents a conceptual process model of the impact of seasons on all aspects of in-destination tourist behaviour. The model is developed from the literature and is then tested using Cairns, Australia as a case study.

Seasons influence the actual and perceived range of products/experiences available, which dictate the pull features of a destination, that in turn, influence who comes and why they come. Combined the activity sets and visitor profile define in-destination behaviour and, ultimately, satisfaction.

The study fills a needed research gap in two ways. Firstly, it explains conceptually and then tests empirically how changes in seasons affect the delivery of tourism products and experiences. Secondly, it adds significantly to our understanding of the factors that influence in-destination behaviour.

Managerial implications for destination management organisations are identified.

This paper presents a new conceptual process model for a previously unexamined issue.

本文提出了一个季节影响目的地游客行为的过程的理论模型。该模型基于文献开发而成, 然后以澳大利亚凯恩斯作为案例进行测试。

本文的目的是开发一个研究季节变化影响旅游的理论框架。

研究发现季节会影响实际和感知的产品或体验的范围, 从而决定一个目的地的吸引力特征。他们反过来可以影响谁来旅游以及他们来旅游的原因。 结合活动和旅游者画像来定义其目的地行为。

这项研究从两个方面填补了理论空白。 首先, 它从概念上解释, 然后实证检验了季节的变化如何影响旅游产品和体验的供应。 其次, 它极大地增强了我们对影响目的地行为的因素的理解。

本文指出了对目的地管理的实践意义。

本文针对先前未经考察的问题提出了一种新的理论过程模型。

El artículo presenta un modelo de proceso conceptual del impacto de las estaciones en todos los aspectos del comportamiento en en destino turístico. El modelo se desarrolla a partir de la literatura y luego se pone a prueba usando Cairns, Australia como estudio de caso.

El propósito de este artículo es desarrollar un marco conceptual que examine los impactos de los cambios de estación en el turismo.

Las estaciones influyen en la gama, real y percibida, de productos/experiencias disponibles que condicionan las características de atracción de un destino. Las estaciones, a su vez, influyen en quién viene y por qué viene. Los conjuntos de actividades combinadas y el perfil del visitante definen el comportamiento en el destino.

El estudio llena un vacío de investigación necesario de dos maneras. Primero, explica conceptualmente y luego demuestra empíricamente cómo los cambios en las estaciones afectan la oferta de productos y experiencias turísticas. En segundo lugar, contribuye significativamente a la comprensión de los factores que influyen en el comportamiento en el destino.

Se identifican las implicaciones de gestión para las organizaciones de gestión de destinos.

Este artículo presenta un nuevo modelo de proceso conceptual para un tema no examinado previamente.

Networks linking tourist attractions or organizations are a major focus of tourism research. Despite extensive research on tourism networks, academic research on the spatial structure and formation of wine tourism networks is limited. This study aims to investigate the spatial structure and factors influencing the development of a network among Ningxia wineries, an emerging wine tourism destination in China.

This study uses social network analysis to uncover “what” the spatial structure of wine tourism networks looks like. Sixteen in-depth interviews were conducted among key stakeholders to explain the “why” of such structural characteristics.

The results show that in an emerging wine tourism destination, popular tourist attractions enjoy high centrality and hold key positions in the wine tourism network. Small wineries exhibit high closeness centrality, and only one winery serves as a network broker. According to the stakeholders, the importance of network actors will increase as their economic and political importance increase, while small wineries that lack differentiation in the network may perish.

Local governments can implement the suggested measures for improving network connections, and wineries are advised to find suitable positions to improve the experiences of tourists.

This study pioneers the identification of the distinct structure and factors influencing the network of an emerging wine tourism destination, thus enriching the understanding of the interplay and roles of different actors.

This paper focuses on patterns of film consumption within cultural consumption more broadly to assess trends in consumerism such as eclectic consumption, individualised consumption and omnivorous/univorous consumption and whether economic background and status feature in shaping cultural consumption. We focus on film because it is widely consumed, online and offline, and has many genres that vary in terms of perceived artistic and entertainment value. In broad terms, film is differentiated between mainstream commercially driven film such as Hollywood blockbusters, middlebrow “feel good” movies and independent arthouse and foreign language film. Our empirical statistical analysis shows that film consumers watch a wide range of genres. However, films deemed to hold artistic value such as arthouse and foreign language feature as part of broad and wide-ranging pattern of consumption of film that attracts its own dedicated consumers. Though we found that social and economic factors remain predictors of cultural consumption the overall picture is more complex than a simple direct correspondence and perceptions of other cultural forms also play a role. Those likely to consume arthouse and foreign language film consume other film genres and other cultural forms genres and those who “prefer” arthouse and foreign language film have slightly more constrained socio-economic characteristics. Overall, we find that economic and cultural factors such income, education, and wider consumption of culture are significant in patterns of film consumption.