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Este artículo pretende explorar la representación de los Pirineos Occidentales como escenario de frontera en el cine de carretera contemporáneo, género transnacional por excelencia. El objetivo es examinar el cine jacobeo como un caso especial de cine de carretera atípico enmarcado en España. Tras un resumen de un siglo de historia del cine de peregrinación a Santiago, de su éxito y sus temas recurrentes, este análisis se centra en El Camino 2010, de Emilio Estévez. Esta película sigue las convenciones genéricas principales de la road movie, pero se desvía de ellas al exaltar los valores de la familia y representar a un protagonista americano anciano a pie en un género en esencia rápido y joven. Artikulu honen xedea da aztertzea nola erakusten diren Mendebaldeko Pirinioak mugako jokaleku moduan zinema genero transnazional nagusian, errepide zineman. Donejakue bideari buruzko zinema aztertu nahi da, errepide zinemaren kasu berezi eta atipiko bat delako, Espainian kokatua. Santiagorako erromesaldiari buruz mende batean egindako zinemaren historia, izan duen arrakasta eta errepikatzen diren gaiak laburtu ondoren, azterketak Emilio Estévez-ek 2010ean egindako film bati heltzen dio, El Camino filmari. Filmak road movie direlakoen konbentzio generiko nagusiei jarraitzen die, baina generotik aldentzen da, familiaren balioak goresten dituelako, eta oinez doan agure amerikar bat duelako protagonista, generoa, funtsean, azkarra eta gaztea izan arren. This article aims to explore the filmic representation of the Western Pyrenees as a bordercrossing setting in contemporary road cinema, a transnational film genre par excellence. The aim is to examine pilgrimage films along Saint James’s Way as a special case of atypical road movies set in Spain. After a summary of the history of jacobean filmic representation along one century and an analysis of its success and recurrent themes, this article focuses on Emilio Estévez’s The Way, 2010. Its generic analysis shows that it both follows but also remarkably deviates from staple road movie conventions, like its exaltation of family values and its depiction of an old American protagonist travelling on foot in a fast, youth-oriented genre.

This research paper proposes an analytical approach to the study of the phenomenon of the film-induced pilgrimage tourism, along one of the most historical and relevant European cultural route: the Way of St. James or Camino de Santiago. In the present study, and in order to point out the relation between film broadcast and film-induced tourism, we combine the review of the Jacobean cinema with the statistical analysis of the pilgrims arrived to Santiago de Compostela during the last decade. So, our main aim is to analyse the repercussion of the Jacobean Cinema in the attractiveness of the Way of St. James as tourism destination. We take into consideration the role of the film producers and we also ponder on the marketing policies of the Autonomous Community, which are aimed at promoting the pilgrim’s routes, the Cathedral and the city of Santiago de Compostela. The cinema has played a less important role until now, in comparison with the impact of travel guides and the Jacobean literature, but it is increasing its impact in the international tourism markets. Recently, the American film The Way can be considered to be the first promoter of the film-induced tourism, because the arrivals of pilgrims from USA have been increased after the broadcast of this film since 2010., Almatourism - Journal of Tourism, Culture and Territorial Development, Vol 6, N° 4 (2015): Special Issue Film-induced Tourism