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The purpose of this paper is to show how an increasing number of film and tourism industry stakeholders are working together with the dual goals of attracting film production and then capitalizing on the subsequent exposure.

Recently published reports and articles related to the film industry and film tourism in particular are thoroughly reviewed.

Although most tourism organizations and film commissions have been slow to tap the potential benefits of film tourism, the examples highlighted show how partnerships between the two industries can be mutually beneficial.

If leveraged well, film tourism can have large economic gains for countries and regions. Destination marketing organizations should be working with film commissions and engaging in marketing activities at four distinct stages of a film's lifecycle; before production of a film, during production, during release of the film, and after release.

This is the first full film tourism paper to reflect on existing collaboration between the film and tourism industries.

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.

The purpose of this paper is to revisit the question: “How can the film‐induced tourism phenomenon be sustainably managed?” and review the implications arising.

The paper draws on each of the articles in the theme issue to examine the individual and collective insights.

It can be argued that an action plan for maximizing the film‐induced tourism benefits at the related destinations can be realized by building on the recommendations contained in this theme issue.

The paper explores the scope and potential for developing the film‐induced tourism sector.

This paper identifies successful case examples and action lines for future development, including continued dialogue between academics and practitioners involved in the film and tourism industries.

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.

The purpose of this paper is to investigate what the authors have termed displacement theory (grounded in aspects of authenticity) within the larger phenomenon of film‐induced tourism and to present a clearer understanding of the inherent implications and opportunities for economic development this may bring.

The objectives are achieved through critical review of previous film tourism literature combined with use of blog and key‐informant interview research. The research follows an interpretive paradigm and address a gap in the film‐induced tourism literature on the area of authenticity and displacement.

Key research findings revealed that “3” distinct tourist types exist in film tourism which gives rise to “3” distinct markets. Authenticity is important to film tourists, especially when displacement occurs. There is a lack of industry understanding and recognition which ignores film locations when displacement occurs.

There needs to be greater recognition and acceptance of film‐induced tourism, closer collaboration between tourist authorities and film bodies, greater efforts to develop and promote the film locations as opposed to the story settings/places depicted, retention or re‐creation of film sets – building simulacra if necessary to retain more essence of film authenticity and greater use of qualitative research, especially through new and innovative means such as the blog techniques used in this study.

This paper addresses a gap in previous film tourism literature regarding authenticity and displacement and as such makes an original contribution to this field. New innovative methods (using blog research) also bring a fresh approach. This paper will be of value to academics and industry practitioners interested in film‐induced tourism and indeed tourism in general, as well as students studying/researching this important field.

The purpose of this paper is to explain why the film‐induced tourism sector is growing and outline the key questions that are likely to affect the future development of this sector.

The theme issue is profiled and the purpose and approach of each article explained in the context of the overall strategic question: how can the film‐inducted tourism phenomenon be sustainably managed?

The paper concludes that there is both a need and an opportunity for dialogue and interchange between practitioners and academics.

The paper explores the key issues affecting the growth of film‐induced tourism around the globe.

The paper identifies and explores facets of the relatively new film‐induced tourism phenomenon.

The purpose of this paper is a cross‐cultural analysis to compare the profiles of international screen‐tourists by nationalities. Also it investigates the screen‐tourism concept as associated with the Hallyu phenomenon. Owing to the nature of the topic being examined, an instrument with study‐specific items was created.

The objectives of this paper were achieved through the critical review of previous screen‐tourism literature combined with a structured on‐site survey which included both open‐ and close‐ended questions with inbound tourists who were visiting the Daejanggeum Theme Park in South Korea.

The principal value of this study can be seen in its offering of a general overview of the characteristics of screen‐tourists induced by the television drama Daejanggeum. The outcomes of this study concurred with the findings of some previous research which indicated the powerful impact of consuming popular media products including television dramas on destination choice and increase in tourist numbers. Therefore, the findings present a considerable amount of insight into the screen‐tourism phenomenon.

Despite the overall success of the research methodology, a number of limitations were identified. Probably, the most significant of these relates to the generalisability of the results. Whilst this research has contributed to the existing knowledge of screen‐tourism, it would undoubtedly be beneficial to build on it through further research. In particular, research that would examine whether the main findings identified here are more widely representative would be useful. A multi‐destination paper could be undertaken in which would provide rich, comparative data on the nature and characteristics of the phenomenon in other such destinations.

This paper will be of value to academics and industry practitioners interested in screen‐tourism and indeed tourism in general as well as students studying the screen‐tourism phenomenon. The results of this study could benefit destination managers, academics, film and television stakeholders who have an interest in screen‐tourism destination development.

This paper offers a general overview of socio‐demographic characteristics of international screen‐tourists induced by a television drama and it explores the differences in screen‐tourists' profiles including travel patterns and screen product preference in the inter‐Asian dimension. The paper addresses a gap in the literature on the area of cross‐cultural analysis and the screen‐tourist.

This paper aims to expand the media-related tourism literature in a new domain of application by highlighting a connection between the world of video games and tourism.

Through deductive content analysis, this study looks at 137 online comments posted on popular gaming and travel websites that connect two popular video games (Assassin’s Creed II and Assassin’s Creed Unity) and travel motivation.

Results establish that video games share similar travel motivation elements with film and should be considered as a driver of tourism. It argues that destinations should consider video games as a platform for motivating tourists before they consider investing in virtual reality. It outlines opportunities for destinations interested in video game-induced tourism and calls for more research and case studies that link video games with destinations.

This is, to the authors’ knowledge, the first paper to investigate this connection. As such, it outlines untapped opportunities for destinations interested in video game-induced tourism and opens up a new line of research within media-related tourism literature.

The purpose of this paper is to explore contemporary issues in film tourism with reference to the growth in related tourism fields.

The paper examines the relationship between growth in dolphin and whale watching and the popularity of the Free Willy series of films.

Observes that films can significantly influence aspects of ecotourism, especially in terms of the expectations of tourists.

The paper illustrates how new tourism niche markets are strongly influenced by nature‐related films and discusses the implications for tourism stakeholders.

The paper reviews and reveals the potential for film‐induced ecotourism.

Tourism in the wake of films, literature, and music is gaining interest among academics and practitioners alike. Despite the significance of converging tourism and media production and popcultural consumption, theorizing in this field is weak. This chapter explores complex relationships among popcultural phenomena, destination image creation, and tourism consumption. By taking a broader social science approach, it revisits and connects research themes, such as symbolic consumption, negotiated representations, fans and fandom, technology mediation, and media convergence. The chapter concludes with an integrative model, or “popcultural placemaking loop,” which is qualified through six propositions.