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Stories are at the heart of tourist experiences and, not surprisingly, there is increasing use of accounts by tourism businesses and destination marketing organizations in their promotions. The use of stories within experiences is also beginning to emerge, although to date the focus has been on telling destination or business stories to tourists, who are cast in the role of an audience member. But a comprehensive model of tourist stories offers a wider range of innovative ways in which tourists can be involved in − and create − their own stories. This chapter uses such a model to generate and apply principles for tourism practice through a case study of an Australian island destination.

Films are arguably one of the most influential phenomenon of modern society. They are remarkable and effective means of conveying stories and influencing humans. Films are one of the most important factors that motivate people to travel to a destination. This chapter will explore the phenomenon which is widely known as film tourism and its role in tourist experience. To gain a better understanding of film tourism experiences, this chapter presents key concepts and analyzes existing studies. The analysis investigates important aspects of film tourism experience, including experience satisfaction and storytelling. It tries to highlight how films can influence tourist experiences beyond the travel itself, with a strong emphasis on the role of storytelling and film tourism experience satisfaction. To help readers achieve a clearer and more detailed understanding of the unique and dynamic nature of film tourism experiences, this chapter provides an overview of the tourist experience by conducting a comprehensive literature review on the subject. By doing this, this chapter proposes a new framework of film tourist experience satisfaction while describing the relationship between influential factors such as previous film experiences, motivation to visit a destination, destination expectations, on-site destination experience, and tourist involvement. Finally, conclusions are drawn presenting storytelling as a contemporary approach in the domain of film tourism experiences.

This study focuses on the guide role, experience context, and the subsequent cocreation strategies regarding the tourist experience. The guide role and the guide–tourist interaction are explored by using a qualitative research design. To illustrate how guides perceive their role, the experience context, and the strategies adopted in order to cocreate experience value for tourists, two different experiences are discussed: a guided tour at a rock art site and a guided nature-based tour in a northern landscape. Interpretive data analysis reveals how the tourist context may encourage or restrain the guides’ uses of different cocreation strategies, in particular storytelling. In addition, the findings indicate that the guides have different perceptions regarding their role, which influence their view and use of the available cocreation resources.

Reviews of Ground Zero, New York on TripAdvisor show a diversity of interpretations. Amidst the cacophony of voices, there is communication and a semblance of community. This sense of community—despite the lack of strong coherent and consistent views, a plethora of diverse topics, and heterogeneous perspectives—is brought together and built on chronotopic (time–space) structures. Drawing inspiration from Bakhtin’s chronotopes, this chapter shows how spatial and temporal structures are negotiated. The negotiation processes demonstrate that tourists now have a global platform to communicate and are able to stake claims of legitimacy to interpreting foreign heritage. Thus tourists are layering new meanings on historical sites and are contributing to the rewriting of local histories, all as part of glocalization.

Although the gazing qualities of the natural environment play an essential role in the communication of tourist experiences, the natural environment is an under-communicated and underused element in the staging of tourist activities. To illustrate the potential staging strategies for tourism firms as they relate to natural environments, this paper presents a discussion of two cases from northern Norway: a dog-sled race and a Northern Lights hunt. Interpretative data analysis of the respective cases’ staging strategies was undertaken to shed light on how each case opted to stage the natural environment. Viewed as separate from the exploration of the cases, the paper includes a discussion of the staging dimensions of exploration, play, and learning. Furthermore, the benefits linked to the use of these dimensions were brought to the fore as important to efforts at involving tourists in the offered activities and in facilitating cocreation.

Creating memorable tourism experiences (MTE) is vital to obtain sustained tourism visits. In the digital era, infusions of various digital technologies in tourism services without admitting tourist emotions could jeopardize the experience. Drawing from a Service-Dominant Logic (S-DL) perspective, this study explains the complexity of digital tourism experience in the service system view, highlighting the importance of emotions as resources. It is composed of actors' orchestrations, connected by shared emotions, and enabled by sensory stimuli facilitated by the digital tourism ecosystem throughout the tourism journey. This study proposes a Memorable Digital Tourism Experience (MDTE) framework by identifying the focal actors, recognizing the emotions, and determining the moderating role of sensory stimuli enabled by various novel technologies. At last, several agenda and practical guidelines are proposed on how to operationalize the framework and different methodologies to explore Memorable Digital Tourism Experience.

Building on key ideas about the value of savoring in understanding the importance of vacation memories, a sample of Iranians were asked to write a long paragraph (one page) which described a particularly important, happy, and enjoyable vacation occasion. The answers were coded using five categories developed from savoring studies. By benchmarking the scores with data from well-matched samples from other countries (specifically a European sample from Austria, and Chinese and Japanese respondents), the Iranian tourists were shown to be especially appreciative of vacations being grateful, marveling, luxuriating, and having a strong sense of the status value of their time. For Iranians, vacations provide powerful, evocative highlights for their lives.

Although there have been many articles and books on street vendors, ambulant and fixed, around the world, and many works written about them in Mexico, little has been done on the ubiquitous ambulant beach vendors in tourist centers.

This paper offers an analysis of the backgrounds, levels of contentment, and aspirations of 25 women beach vendors interviewed in Acapulco in 2010.

A third of the women beach vendors had fathers who were peasants, and others had grandparents who were. Thus the article shows light on the fate of some of the offspring of a dispossessed peasantry. Far more than half of the women vendors were very content with their self-employment vending wares on the beach, a few because they could set their own hours, and a few because they had no boss. Other’s contentment was linked to the fact that they could help support their children. Part of this help meant keeping them in school. This was true whether the women were married, widowed, or abandoned. Not all were content, however, and this underscores the importance of their income to their households. Most of the women, though not all, had aspirations for more education and better work, whether in the formal or the informal economy.

The women can be seen as marginalized because of their current poverty, and many because of past poverty leading to a lack of educational opportunities when they were young. They value education for their children.