Search results

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 examine the factors that influence mainland Chinese film tourists’ behavioural intention in accepting an augmented reality (AR) feature film character-related tour APP (an IfilmAR-tour-APP) based on an extension of unified theory of acceptance and use of technology (UTAUT) model.

Systematic sampling was used to collect data; 360 valid questionnaires were collected from mainland Chinese film tourists visiting Macau. Partial least squares structural equation modelling (PLS-SEM) was applied to analyse the data.

The findings indicated that performance expectancy, effort expectancy, social influence, celebrity involvement and personal innovativeness have a significant impact on mainland Chinese film tourists’ behavioural intention in accepting the IfilmAR-tour-APP, while facilitating conditions do not significantly affect tourists’ behavioural intention. Furthermore, the study revealed that effort expectancy, celebrity involvement and personal innovativeness positively influence performance expectancy in the use of an IfilmAR-tour-APP.

The findings of this study provide implications for AR tour APP developers which will help them to enhance their designs, and for the governments of tourist destinations to formulate their promotion strategies in developing niche tourism.

This study extended the application of UTAUT to tourism technology by introducing two personality traits in the context of AR tour APPs for film-induced tourism. This research contributes to niche tourism research by linking niche tourism and tourism technology.

推广影视旅游的增强现实旅游APP的接受度：论名人参与和个人创新的影响

本论文旨在检验中国大陆影视旅游者接受增强现实（AR）影视人物相关APP（IfilmAR-tour-APP）的接受行为, 本论文根据UTAUT模型, 检验其影响接受行为的各项因素。

本论文采用系统抽样法搜集数据; 共收到360份中国大陆到澳门影视旅游的游客问卷。本论文采用PLS-SEM方法分析数据。

研究结果表明, 性能期望、努力期望、社交影响、名人参与、和个人创新都对中国大陆影视旅游者接受IfilmAR-tour-APP行为有着显著影响。然而, 辅助条件对游客的行为意向并没有显著影响。此外, 本论文还表示努力期望、名人参与、和个人创新对性能期望有积极影响。

本论文结论对于AR旅行APP开发者提供实践启示, 这将帮助他们提高设计, 此外, 本论文结论对旅游目的地的政府也有启示, 帮助他们推广这种新奇旅游策略。

本论文延展了UTAUT应用到旅游科技, 在AR tour APP在影视旅游中引入两个个性特点。本论文通过连接新奇旅游领域与旅游科技, 对新奇旅游科研有着贡献。

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.

This study aims to test the utility of Pearce et al.'s (2003) framework on film tourism in Otaru, Japan. This framework involves marketing the attraction according to five stages: resource identification, marketing emphasis, interpretation, sales and merchandising and broader community use. The existing studies have failed to adapt this framework to films. Subsequently, this study uncovers the necessity of an additional stage involving sustainability aspects.

A case study method was adopted, and Otaru, Japan – a popular film location – was chosen. Semi-structured interviews with the major stakeholders of film tourism, such as film commissions, representatives of the film and the tourism industries, tourists and the community, were conducted, and the participants were observed. Data were collected using the snowball sampling technique.

The study reveals that Pearce et al.'s (2003) model is applicable to film tourism by adding a sixth stage to address sustainability, such as the issue of overtourism.

The transferability of the framework to different film tourism cases is plausible. It is also critical for governments and tourism practitioners to consider the community's perspective for sustainability and maximize the use of films as promotional tools for destinations.

This study is the first to apply Pearce et al.'s (2003) model to film tourism, adding value to the literature by extending the framework to include an additional sixth stage to address sustainability.

The visitor economy of Forks now clearly relies upon a niche form of tourism – as fans of The Twilight Saga are drawn to the setting and filming location of the films. The purpose of this study is to consider the process of diversification and subsequently present recommendations that could inform a future diversification strategy for Forks, in preparation for a post-film tourism scenario.

The research methods employed in this study have two interlinked but distinct elements. Firstly, the Twilight Effect in Forks (WA, USA) is considered as an illustrative case study to shed light on the issues facing a destination that has seen a tourism boom as a direct result of popular culture – The Twilight Saga Franchise. Secondly, a scenario thinking and planning approach is applied when considering the “long-view” future of tourism in Forks.

This article presents a post-film tourism future scenario for Forks; it suggests tourism diversification and a shift towards cultural heritage and wellness. Forks is well placed to afford such tourism experiences, as it offers unique cultural and natural characteristics; furthermore, these could be utilised to create and maintain a distinctive destination image. In doing so a more socially and environmentally sustainable industry can be established, one which supports the local community, including the Quileute tribe.

The article offers original discussions within the film-tourism literature with novel approaches to understanding the management and pre-planning opportunities for destinations that have become popular film tourism locations, with the application of a “Tourism Diversification Model”. The model is adapted from Ansoff Matrix and can be applied as a framework in future studies exploring destination diversification. The investigation of Forks as a post-film tourism case study alone is unique, and the discussions and findings presented are original.

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 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.