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The purpose of this paper is to consider how film can induce image, both individually and collectively. In particular, the psychological drivers of film are explored and how these may impact on tourism visitation. The impacts of film and cinema are explored, as is the relationship between tourists' motivation and purchase behaviour.

The authors review the limited literature on the subject, seeking commonalities and resonances between film and tourism. A focus group is used to develop a perceptual map with which to better understand the phenomenon and a questionnaire was conducted to research attitudes towards film and propensity towards film‐induced behaviour.

The paper suggests that there are commonalities between film and tourism and that film can evoke powerful and long‐lasting images with the viewer, thus creating marketing opportunities for destination marketing organisations (DMOs).

With greater understanding of the nature and power of filmic image, it is hoped that tourism DMOs may develop more effective strategies for attracting visitors to destinations.

Research in this topic is very limited and, as far as the authors are aware, there is nothing which adopts an in‐depth approach on the nature and application of film‐induced tourism.

Kaiping Diaolou in Guangdong Province, China, is a UNESCO World Heritage site that is often used as a film location. This study aims to investigate the antecedents of film-induced heritage conservation behaviour in tourists visiting Kaiping Diaolou. The conceptual premises of stimulus-organism-response theory were used to provide additional insight into the impact of film- and heritage-induced images, and tourists’ perceived authenticity, destination attachment and heritage conservation intention.

The authors tested the hypotheses using covariance-based structural equation modelling by using the data collected from the 391 valid questionnaires.

The empirical results reveal that both film- and heritage-induced images have a direct impact on tourists’ heritage conservation intention. Furthermore, perceived authenticity and destination attachment fully mediate the relationship between destination image and conservation intention, while the serial multiple mediator effect in the heritage destination image model is not significant.

The findings contribute to the understanding of tourists’ heritage conservation intention through the lens of destination image, perceived authenticity and destination attachment. The study’s findings enrich the literature on film and heritage tourism regarding destination image construction and heritage conservation and have implications for the sustainable development of heritage tourism and heritage conservation, as well as the marketing of heritage sites.

位于中国广东省的开平碉楼是联合国教科文组织认证的世界文化遗产, 并经常被用作电影拍摄地。本研究调查了影响开平碉楼影视旅游游客的遗产保护行为的前因。本研究采用刺激-有机体-反应 (SOR) 理论的概念, 探究电影和遗产所诱发的目的地形象、游客的感知真实性和目的地依恋, 对游客遗产保护意图的影响。

本研究共回收 391 份有效问卷, 并使用基于协方差的结构方程模型来检验研究假设。

实证结果表明, 电影和遗产诱导的目的地形象都直接影响游客的遗产保护意愿。此外, 游客的感知真实性和目的地依恋完全中介了目的地形象与保护意愿之间的关系。但是在遗产目的地形象的模型中, 感知真实性和目的地依恋的串行多重中介效应不显着。

研究结果有助于通过目的地形象、感知真实性和目的地依恋来理解游客的遗产保护意图。本研究丰富了关于目的地形象建设和遗产保护的文献, 并对遗产旅游和遗产保护的可持续发展以及遗产地的营销产生了积极影响。

Previous attendance records were broken this year as 1,534 delegates, representing 19 countries, gathered together for Printed Circuit World Convention III from May 22–25, 1984 in Washington, DC.

The purpose of this paper is to highlight the potential of film‐induced tourism to provide sustained economic contribution to destinations.

The paper takes the form of a literature review and identifies the economic contribution made by film‐induced tourism.

It is observed that film‐induced tourism only provides a sustained economic contribution to destinations in exceptional circumstances.

Destinations need to incorporate film as a functional component of their management. Managers need to focus on the subtle roles film plays in destination awareness, motivation, and image and expectation formation. This focus is best deployed in connecting film audiences with the destination, and tourist experiences available.

The paper questions the emphasis placed on film as a tourism‐inducing agent and at same time, illustrates that film has a subtle influence and this requires further emphasis by destination managers.

Various law and film scholars have noted that the judge occupies the place of a marginal figure in ‘legal cinema’ and in related scholarship. In this chapter I want to engage with the debate about the representation of the judge in film by way of an examination of a South African documentary, ‘Two Moms: A family portrait’ (2004). In the first instance this ‘family portrait’ appears to be neither an obvious candidate for inclusion in the canon of ‘legal cinema’ nor a film with a plotline dominated by a judge. But from this rather unpromising start this chapter explores how a film about an ordinary family made up of extraordinary people is an extraordinary film about law in general and about the figure of the judge in particular.

This paper presents a novel printed circuit board (PCB) film image alignment method based on distance context of image components, which can be directly used for PCB film inspection. PCB film inspection plays a very important role in PCB production.

First, image components of reference film image and inspected film image are extracted. Then, local distance context (LDC) and global distance context (GDC) are computed for each image component. Using LDC and GDC, the similarity of each pair of components between the reference film image and the inspected film image are computed, the component correspondences can be established accordingly and the parameters for aligning these two images can be eventually estimated.

LDC and GDC act as the local spatial distribution descriptor and the global relative position descriptor of the current component, and they are invariant to translation, rotating and scale. Experimental results on aligning real PCB film images against various rotations and scaling transformation show that the proposed algorithm is fast and accurate and is very suitable for PCB film inspection.

The proposed algorithm is suitable for aligning those images that have some isolated connected components, such as the PCB film images. It is not suitable for general image alignment.

We put forward to use LDC and GDC as the local descriptor and global descriptor of an image component, and designed a PCB film image alignment algorithm that can overcome the shortcomings of that image alignment algorithm that was based on local feature descriptors such as Fourier descriptor.

Cultural visibility is closely linked to physical and social mobility, and access to – or denial of – free movement through private and public spaces powerfully shapes individual and social identities. As Liam Kennedy has shown in the context of urban space, “the operations of power are everywhere evident in space: space is hierarchical – zoned, segregated, gated – and encodes both freedoms and restrictions – of mobility, of access, of vision” (2000, pp. 169–170). A consideration of how film articulates a relationship between space and identity might thus begin by breaking down the concept of space itself into three distinct yet interconnected areas of analysis: first, the notion of socially produced space, as shown in the work of Henri Lefebvre and others; second, the idea of audience space or the architectural space of the theater; and finally, the theory of film space or the space of the screen. Given this essay’s limited scope, the latter will be examined in more detail than the first two, but I would like to stress the underlying interconnectedness of the three. While, for example, formalist studies of film aesthetics may be just as valuable as in-depth studies of changing viewing habits, audience demographics, and exhibition technologies, film interpretation should strive to keep in view the variety of spatial formations and conditions that might come to bear on any particular visual text.

Like daffodils in springtime, total quality management (TQM) programs bloom, fade, and bloom again. Once lauded, then debunked, analyzed, and resurrected, TQM is here examined as a linguistic construction. The intent of this research is to examine the Quest for Excellence films, as produced by the National Institute of Standards and Technology. The films are produced for the annual Malcolm Baldrige Award ceremony in Washington, DC. Films are analyzed, because this paper extends the work of De Cock, who argues that language plays a central role in constituting reality; and because films are powerful language or sign systems.

From Dr No in 1962 to Spectre in 2015 the opening themes for James Bond movies have always played an important role in marketing, audience expectation and reception. Whether instrumental or sung, brassy or orchestral, upbeat or mellow, the music and/or lyrics, alongside innovative title sequences, function as key signifiers of gender representation in the ongoing series of spy adventures. Bond’s suave machismo, for example, is immediately set out in the opening titles for Dr No created by Maurice Binder. The iconic image of Bond viewed through a gun barrel as a shot rings out, is punctuated by Monty Norman’s theme music with its swinging brass and the tough, machine-gun like sound of electric guitar being played fiercely with a plectrum. Although this theme became synonymous with the character, there was a shift towards songs written specifically to tie-in with subsequent film titles although the lyrics rarely had anything to do with the narratives of the film. The title sequences themselves also became more provocative, invariably focussing on silhouetted, naked or semi-naked female bodies or their component parts alongside gun barrels and bullets, albeit in a highly stylised and artistic manner. This chapter, then, will consider how the theme music functions with the opening credits sequences in relation to the representation of women, race and the image of Bond himself and how the character has changed over time.