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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.

This study aims to examine the public’s acceptance of film-induced tourism and develops the relationship among placement marketing, involvement, place attachment and travel intention. The film Your Love Song shot in the Hualien and Taitung regions in Taiwan was selected as the case study.

An online sample survey was conducted using a structured questionnaire, and statistical tests and overall structural equation modeling analysis using the SPSS and AMOS statistical software packages, respectively, were performed.

This study results demonstrate that destination placement marketing has a significant positive effect on the level of destination involvement, place attachment and travel intention of viewers. Moreover, the level of involvement has some intermediary effect on the interrelationship between placement marketing and travel intention. Hence, this study suggests that relevant government agencies and tourism operators should promote local tourism through films and television shows and attract more tourists by retaining the original shooting scenes.

While previous studies have only analyzed two or three of the four concepts of film-induced tourism, placement marketing, travel intention, involvement and place attachment, this study completely integrates these four concepts and proves the correlation between them.

The figure of the femme fatale is attached to a range of contested meanings around femininity, sexuality and violence. Despite its ambiguity and its origins in art, myth and fiction, the term has proven popular in giving a name to violent articulations of female power in non-fictional settings by journalists. In this chapter, I outline the figure of the femme fatale as an archetype of women's violence that appears throughout Western popular culture, and provide an overview of the term's definitions and cultural meanings. In doing so, I trace the figure's movement across different forms and genres of popular culture. I identify a number of themes in the existing scholarship around the figure: feminist criticism of the figure; the value that feminist film scholars have found in the figure as a symbol of power and sexual transgression; the relationship between the femme fatale, race and the colonial imagination; and the way the idea of the femme fatale has been used in reporting of real-life women's violence.

This study explores the value of sports films for engaging youth in issues related to patriotism, justice, equity and liberty. The authors analyze how two sports films, 42 and Battle of the Sexes, have pedagogical potential and value in secondary social studies methods classes, as well as what criteria educators might use when selecting films (and television series) for classroom use.

Using content analysis, the authors respond to the following questions: (1) What critical themes related to civic education surface in the sports films 42 and Battle of the Sexes? and (2) What framework might guide the use of selecting sports films and sports film clips for educators' civic educational use?

Five themes surfaced in the films 42 and Battle of the Sexes: economics as a force for social change; racism and anti-Blackness, athletes as more than athletes, resisting oppression, and sexism and homophobia. Instruction related to these themes has the potential to engage students in critical, awareness-based approaches to civic education.

Sports films show promise for engaging youth due to their interests in the medium of film and in sports, both as participants and spectators. Across the world, athletes face questions and issues related to patriotism, justice, equity and liberty on courts, fields, tracks and rinks, These questions and issues are deeply embedded in civic education. This study is among the first of its kind to explore the pedagogical potential of sports films.

Recent archiving and curatorial practices took advantage of the advancement in digital technologies, creating immersive and interactive experiences to emphasize the plurality of memory materials, encourage personalized sense-making and extract, manage and share the ever-growing surrounding knowledge. Audiovisual (AV) content, with its growing importance and popularity, is less explored on that end than texts and images. This paper examines the trend of datafication in AV archives and answers the critical question, “What to extract from AV materials and why?”.

This study roots in a comprehensive state-of-the-art review of digital methods and curatorial practices in AV archives. The thinking model for mapping AV archive data to purposes is based on pre-existing models for understanding multimedia content and metadata standards.

The thinking model connects AV content descriptors (data perspective) and purposes (curatorial perspective) and provides a theoretical map of how information extracted from AV archives should be fused and embedded for memory institutions. The model is constructed by looking into the three broad dimensions of audiovisual content – archival, affective and aesthetic, social and historical.

This paper contributes uniquely to the intersection of computational archives, audiovisual content and public sense-making experiences. It provides updates and insights to work towards datafied AV archives and cope with the increasing needs in the sense-making end using AV archives.

Journalists construct a public image through each of their produced texts. Regarding cinema journalism, the feature stories are the result of multiple semiotic relationships established between the cinematographic products, the artists involved with the cinema production, and the possible expectations of the readers related to the journalistic texts, as well as viewers of the films and the depicted artistic contexts. A semiotic analysis of a feature story on the documentary Todos os Paulos do Mundo, written by the journalist Luiz Carlos Merten, reveals the construction of what semiotics calls signic actions. Such actions recover the film creation process and its produced meaning related to contemporary Brazilian production of cinematography.

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.

The purpose of this paper is to engage readers with Unity Productions Foundation (UPF) films, which provide a powerful, inspirational digital tool for teachers. The organization's mission is to create documentaries, films and educational materials that contribute to bringing to light compelling stories of Muslim engagement through history and culture. UPF films and educational projects aim to promote peace and understanding to increase cultural pluralism and counter bigotry in our world.

Teachers will be able to utilize the resources provided in this paper to harness the power of media in their classrooms. Outlining the process by which teachers can follow the C3 inquiry using the film Prince Among Slaves will prepare teachers to see the alignment of the C3 Framework with their teaching. The “best practice” classroom strategies in structuring deliberations are ones that encourage students to fully participate and emphasize their voice.

This paper will unpack the practice methods that address the film Prince Among Slaves to be of benefit when sharing narratives through digital film and engage students in critical thinking through the C3 Framework. UPF films are the product of scholarly research and innovative production teams as the films provide the opportunity to visualize and explore multiple perspectives to understand historical content by providing a context for inquiry teaching and learning that is inclusive through deliberative discussions in the classroom.

The author certifies that this manuscript submission is original work and that all authors were involved in the intellectual elaboration of the manuscript and all parties have been acknowledged.