Search

Modernism has emerged as the preeminent iconic representation of Barcelona. However, the process through which this peculiar style has attained its iconic status is an arduous and multifaceted endeavor. This paper examines the challenges inherent in the categorization and periodization of Modernisme, followed by a succinct review of its initial filmic representations, culminating in a comprehensive analysis of two films in which Modernisme assumes a pivotal role: All About My Mother (Pedro Almodóvar 1999) and Vicky Cristina Barcelona (Woody Allen 2008). We conclude that Modernisme's transformation into a cultural brand is largely attributable to the erosion of its ideological component in favor of a touristic and globalizing gaze. [ABSTRACT FROM AUTHOR]

Studies of film-induced tourism have demonstrated the effect of film and television productions on tourist attitudes and experiences. However, most of these studies focus on effects without considering the content or reception of film texts. With a view to filling this gap, this study proposes a model based on the analysis of film texts and text reception. The model is tested using the film Zindagi na milegi dobara and its reviews on IMDb. The results of the study confirm the inextricable connections between the representation of tourist attractions, the way viewers interact with the film, and the effects on tourist destination recall.

This research extensively discusses the connection between destination image and films influencing tourism. Despite the worldwide fame of the James Bond saga and extensive publications on the subject, research into the role of tourism promotion in the image of destinations is still scarce, and there is no specific focus on analysing promotional aspects in relation to film-induced tourism. This study focuses on the influence of cinematographic images on the destination image perception and promotion, specifically exploring the case of the James Bond saga as a practical case. With 25 films released since 1962, the James Bond saga provides a basis for evaluating cinematic presence in tourism promotion strategies. This research proposes the content analysis of the official tourist websites of 23 destinations where the James Bond saga was shot, which offer some tourist products linked to the saga. The key findings provide valuable insights into the promotion of James Bond saga tourism destinations, the role of films in promoting destinations, and the tourism products developed from the saga films. The results provide visual outputs about the target image of the film shooting locations, and the text analysis provides keywords linked to the theme. The study's methodology contributes to the discourse on film tourism and destination image topics and brings practical and theoretical contributions to both academia and destination managers. [ABSTRACT FROM AUTHOR]

The first studies of film and television as inducers of tourism appeared in the 1990s. From the outset, research in this area has identified a diverse range of tourist profiles, highlighting the fact that audiovisual media fans constitute an important segment of the tourism market because fan consumers dedicate considerable amounts of time, money, and energy to pursuing their specific interest. As a result, academic researchers have developed a substantial body of knowledge in this field over a relatively short period. The objective of this article is to offer a critical review of studies that have enhanced our understanding of film fan tourists to identify critical gaps in knowledge and, consequently, propose new ways to fully integrate the fan perspective into studies of audiovisual fiction-induced tourism. To this end, all the articles dealing with this specific tourist profile indexed in Web of Science, Scopus, and Google Scholar (49) have been identified and analysed based on their year of publication, geographical location, type of audiovisual production studied, methodology adopted and composition of the sample, major research themes and main theoretical and/or practical contributions. This review of the literature on film fan tourists finds that our understanding of the specific characteristics of the profile and behaviour of this type of tourist is still limited. This is due to some extent on the lack of consensus on the definition of the concept of "fans", which has led to the erroneous classification of tourists whose travel motivation has nothing to do with a film and/or television production--and who may not even be fans of that production--as film fan tourists. The recommendations of this review thus focus mainly on reaching a consensus on the definition of the concept and establishing a single set of selection criteria for future research. [ABSTRACT FROM AUTHOR]

Increased attention to film tourism processes has driven the need for research on its relevance to destination marketing. Film tourism involves different actors with various interests, often making collaboration challenging. This study aims to understand how film tourism can succeed within complex processes involving multiple actors by using in-depth semistructured interviews. Using actor-network theory and emphasizing the relational network in the case study of film location bus tours, it shows that human and nonhuman actors, the tourism and film industries, film commissions, advertising agencies, residents, tourists, ports, and buses interact to create film tourism. This study shows that film tourism networks that were formed successfully are disbanded because of the changing relations between human and nonhuman actors in film tourism. The analysis reveals that power lies in the network created by collaboration among all actors, and the future of film tourism development relies on how heterogeneity is processed. It critically examines the binary of host and guest in tourism and attempts to transcend it constructively. Theoretically, it extends the context of how different actors' interests are effectively processed. This study contributes toward enhancing sustainable tourism by reflecting the nature unique to the region, integrating with films shot in a destination to revitalize the regional economy. [ABSTRACT FROM AUTHOR]

Copyright of Economía, Sociedad y Territorio is the property of El Colegio Mexiquense and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper addresses an alternative perspective on tourism success, emphasising sustainability over traditional quantitative metrics such as arrival numbers. It explores the impact of fiction films and TV series on individuals' mental representations of destinations featured on screen, as well as the capacity of film discourse to construct a brand aligned with local stakeholders' interests. Qualitative methods have been employed, conducting a literature review on sustainable film tourism and destination branding. Local news and an interview with the head of the Peñíscola Film Office complemented academic insights. The primary goal is to examine the "Peñíscola de Cine" project as a paradigm of success, initiated by the city council of Peñíscola, Spain. This project positions the municipality as a natural film set through productions like Game of Thrones (2011–2019), illustrating how film can contribute to destination branding and community engagement. The study highlights the positive contribution of film tourism to sustainability by diversifying and de-seasonalising a territory's offerings. It also attracts a more educated and environmentally conscious audience. However, it cautiously discusses the potential risks, as evidenced by misapplications in Goathland, England, and Skellig Michael, Ireland, following their appearances in Heartbeat (1992–2010) and Star Wars (1977–2019), respectively. The paper concludes by suggesting film-friendly measures for destination management organizations (DMOs), emphasising the pivotal role of film commissions and film offices in crafting effective marketing strategies and capturing the interest of audiovisual production companies. [ABSTRACT FROM AUTHOR]

Modernism has emerged as the preeminent iconic representation of Barcelona. However, the process through which this peculiar style has attained its iconic status is an arduous and multifaceted endeavor. This paper examines the challenges inherent in the categorization and periodization of Modernisme, followed by a succinct review of its initial filmic representations, culminating in a comprehensive analysis of two films in which Modernisme assumes a pivotal role: All About My Mother (Pedro Almodóvar 1999) and Vicky Cristina Barcelona (Woody Allen 2008). We conclude that Modernisme’s transformation into a cultural brand is largely attributable to the erosion of its ideological component in favor of a touristic and globalizing gaze.

This research extensively discusses the connection between destination image and films influencing tourism. Despite the worldwide fame of the James Bond saga and extensive publications on the subject, research into the role of tourism promotion in the image of destinations is still scarce, and there is no specific focus on analysing promotional aspects in relation to film-induced tourism. This study focuses on the influence of cinematographic images on the destination image perception and promotion, specifically exploring the case of the James Bond saga as a practical case. With 25 films released since 1962, the James Bond saga provides a basis for evaluating cinematic presence in tourism promotion strategies. This research proposes the content analysis of the official tourist websites of 23 destinations where the James Bond saga was shot, which offer some tourist products linked to the saga. The key findings provide valuable insights into the promotion of James Bond saga tourism destinations, the role of films in promoting destinations, and the tourism products developed from the saga films. The results provide visual outputs about the target image of the film shooting locations, and the text analysis provides keywords linked to the theme. The study’s methodology contributes to the discourse on film tourism and destination image topics and brings practical and theoretical contributions to both academia and destination managers.

Tourism continues to be one of the sectors that has undergone the biggest changes. Cinema has played an important role in tourism, offering not only visits to the filming locations of series and films, but also allowing tourists to experience the atmosphere of cinematographic production. The main objective of this study was to evaluate the impacts of crime television series on the formation of the image of cities as tourist destinations. We analyzed 929 reviews made by viewers of eight crime television series available on the IMDb platform (Commissario Montalbano, Shetland, Unauthorized living, Gomorra, Dogs of Berlin, Marseille, Trapped and Sky Rojo), between October 2021 and February 2022. The series were positioned within four typologies based on the contrast between the organic image of the destination and the impact of the series on the image of the destination: positive congruence, positive incongruity, negative congruence and negative incongruity. The Marseille, Gomorrah, Shetland and Dogs of Berlin series are in the group of series which viewers' comments do not express an intention to visit or recommend a visit to the destination. The results showed that when the destination is portrayed in a negative way in the series, it can have significant impacts on the image and influence the tourist behaviour of viewers. The case of the Gomorra series is one of the most illustrative in which the series inhibited the development of tourism.

The movie industry is a creative sector that has the potential to contribute to (regional) economic development. Understanding the role of different stakeholders in the different parts of the process of movie production is paramount to provide an overview of the aspects that underlie an interaction that leads to regional economic development. Therefore, this study aims at investigating to what extent the interaction of stakeholders in the movie industry contributes to fostering regional economic development. A qualitative approach based on the single case study of Rocco Schiavone, an Italian tv series set in the Aosta Valley was used. A total of 14 in-depth interviews were recorded among different stakeholders using a snowball sampling. and the results point out to different interactions and power relations between stakeholders. During the three phases of pre-production, production and post-production, stakeholders also experience tensions. The paper concludes by underlining that despite the mainly positive outcome in terms of benefits for stakeholders and consequent economic development in the region, there are also challenges regarding the precariousness of jobs in the sector and the development of film-induced tourism products.

In the realm of film tourism, film-induced effects have been identified to be integral factors in the formation of intentions of a viewer to visit a destination. Grounded on the stimulus-organismresponse (SOR) model, the present study aims to examine how Korean film-induced effects (visual, vocal, and celebrity) influence viewers' intention to visit South Korea. Furthermore, it investigates the intervening role of country image on the relationship between film-induced effects and intention to visit South Korea. The respondents were Filipino viewers of Korean movies and dramas, and they were selected using the river sampling technique. Using variance-based (partial least squares) path modelling, the results revealed that film-induced effects significantly and positively influence viewers' intention to visit South Korea, and visual effect largely contributes to the formation of these intentions. Country image was also found to significantly influence intention to visit, and act as a mediator on the link between film-induced visual effect and intention to visit South Korea. The present study addresses the gap in literature as it showed the indirect role of country image on the relationship between film-induced visual effect and intention to visit South Korea. [ABSTRACT FROM AUTHOR]

In Japan, many academics and practitioners have focused on anime-induced tourism as one of the new alternative forms of tourism in the 21st century. Many fans have visited locations that have appeared in anime as film-induced tourists. Regarding the behavior of anime-induced tourists, many tend to be willing to contribute to the destinations they visit as eco-oriented volunteers, different from purely film-induced tourists. Therefore, anime-induced tourists possess a complex character that entails both an interest in film-induced tourism and volunteer tourism, which may conceptually be opposed to one another. This study reveals anime’s potential as a driver of new volunteer tourism and theoretically contributes to tourism research by redefining anime-induced tourism by relying on the concept of film-induced voluntourism. Using a comparative case study of the behavior of anime-induced volunteer tourists at three destinations, this study found that while anime-induced volunteer tourists have a feeling of gratitude for their host communities with a vacationer’s mindset, they can realize positive outcomes, including economic benefits and problem solutions by engaging in cleaning-up activities at the destinations they visit. In conclusion, this study clarifies that anime tourism is one of the significant alternative forms of tourism that can achieve community development associated with film-induced voluntourists, resolving the negative effects of film-induced tourism and volunteer tourism.

The growing number of TV series shot in the Nord-Pas-de-Calais is the result of a regional policy which aims to promote creative and cultural industries. The article is based on the hypothesis that series differ from other forms of fiction shot locally in that, in connection with the Séries Mania Festival, they would be more conducive to a change of image and would perhaps better promote a process of demarginalisation of the spaces of the region which are still marked by the crisis. This implies questioning the local experiments carried out to take advantage of these film shoots and to try to make them a lever for stimulating new dynamics, particularly - but not only- in terms of (film)-tourism.

TV series and cinema productions are considered one of the most recent and promising instruments to promote tourist destinations and to increase tourist flows. However, a few papers analyze empirically their impact on tourist choices. We contribute to the scarce literature by investigating the impact of one of the most successful TV series of all times: Game of Thrones (GoT). The series was internationally broadcasted and filmed around the world. We focus on fourteen filming locations in three different countries: Spain, Croatia and Malta. To estimate how much of their recent tourism performance is due to the visibility obtained through GoT, we use county-level panel data in the years 2007–2019 and apply an event study design as methodology. We deal with the issue of treatment effect heterogeneity over time and across counties by adopting an interaction-weighted estimator which focuses on season-specific treatment effect. The results show a positive and persistent impact of GoT on tourism performance, on both new tourist arrivals and overnight stays, and are not driven by spillover effects. Overall, findings confirm the ability of TV productions to boost the tourist flows in the filming locations. [ABSTRACT FROM AUTHOR]

Tourism continues to be one of the sectors that has undergone the biggest changes. Cinema has played an important role in tourism, offering not only visits to the filming locations of series and films, but also allowing tourists to experience the atmosphere of cinematographic production. The main objective of this study was to evaluate the impacts of crime television series on the formation of the image of cities as tourist destinations. We analyzed 929 reviews made by viewers of eight crime television series available on the IMDb platform (Commissario Montalbano, Shetland, Unauthorized living, Gomorra, Dogs of Berlin, Marseille, Trapped and Sky Rojo), between October 2021 and February 2022. The series were positioned within four typologies based on the contrast between the organic image of the destination and the impact of the series on the image of the destination: positive congruence, positive incongruity, negative congruence and negative incongruity. The Marseille, Gomorrah, Shetland and Dogs of Berlin series are in the group of series which viewers' comments do not express an intention to visit or recommend a visit to the destination. The results showed that when the destination is portrayed in a negative way in the series, it can have significant impacts on the image and influence the tourist behaviour of viewers. The case of the Gomorra series is one of the most illustrative in which the series inhibited the development of tourism. [ABSTRACT FROM AUTHOR]

This study explores the ‘30 September Movement’ that staged a communist coup in 1965 as travel motivation for an anti-communism museum. ‘Framing’ and ‘uses and gratifications’ theories were used for this case study. The findings concluded that negative film plots and scenes are signature themes that can be used as attributes of red or dark film motivations for tourism. The use of theories, such as ‘framing’ and ‘uses and gratifications’, along with reflexive thematic analysis has provided unique and valuable theoretical insights that may be overlooked by other analyses.

Copyright of Academica Turistica is the property of University of Primorska, Faculty of Tourism Studies - Turistica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper aims to demonstrate that Hollywood film-induced tourism strategies also resonated in Spain in the 1950s, coinciding with the arrival of large contingents of American tourists in historical European cities. The use of these techniques, at a key moment of the diffident opening-up of Franco's regime, was adopted as a new and promising means to diffuse the traditionally Andalusian-inspired brand, combining the wit of Bienvenido Míster Marshall with the flamboyance of Duende y Misterio del Flamenco (both winners at Cannes 1953), and taking as a model pioneering films such as Roman holiday, 1953 and Summertime, 1955. To this end, the promotional strategies of 6 films featuring tourists and shot in Andalusia during the period 1953–1959 are analysed. The results, computerised using NVivo software, suggest, not only the use of wit and flamboyance, but also the display of inductive techniques such as the depiction of an open tourist context, the mobilisation of tourist celebrities (Antonio 'the dancer', Pedro de Córdoba, Pastora Imperio, Dolores Vargas or Carmen Sevilla), as well as the portrayal of Spanish culture for foreign tourists in search of authenticity, with characters performed by international players (Geneviève Page, Merle Oberon, Vittorio De Sica or Ludmilla Tchérina). [ABSTRACT FROM AUTHOR]

The tourism economy has become a new driving force for economic growth, and film-induced tourism in particular has been widely proven to promote economic and cultural development. Few studies focus on analyzing the inherent characteristics of the economic and cultural effects of film-induced tourism, and the research on the dynamic mechanism of the sustainable development of film-induced tourism is relatively limited. Therefore, from the perspective of the integration of culture and industry, the research explores the dynamic mechanism of sustainable development between film-induced culture and film-induced industry through a questionnaire survey of 1,054 tourism management personnel, combined with quantitative empirical methods. The conclusion shows that the degree of integration of culture and tourism is an important mediating role that affects the dynamic mechanism of sustainable development of film-induced tourism, and the development of film-induced tourism depends on the integration of culture and industry. Constructing a diversified industrial integration model according to local conditions and determining the development path of resource, technology, market, product integration, and administrative management can become the general trend of the future development of film-induced tourism. [ABSTRACT FROM AUTHOR]

Film-induced tourism at heritage attractions (HAs) is a growing industry of international relevance. It can influence visitors' expectations of the site and further their preferences for interpretation to include a degree of reference to the film(s). Drawing upon in-depth interviews with visitors at a UK HA further popularised through book and film, this paper explores visitors' preferences for heritage interpretation. The paper identifies four visitor taxonomies – vigorous followers, curious investigators, versatile explorers and purposeful avoiders. It ultimately highlights the value of data-driven visitor taxonomies, providing an in-depth insight into heritage tourism in general and film-induced tourism at this heritage site in particular. Thus, this paper contributes to a greater understanding of the popular media products' influence on visitor preferences for on-site heritage interpretation. [ABSTRACT FROM AUTHOR]

In Japan, many academics and practitioners have focused on anime-induced tourism as one of the new alternative forms of tourism in the 21st century. Many fans have visited locations that have appeared in anime as film-induced tourists. Regarding the behavior of anime-induced tourists, many tend to be willing to contribute to the destinations they visit as eco-oriented volunteers, different from purely film-induced tourists. Therefore, anime-induced tourists possess a complex character that entails both an interest in film-induced tourism and volunteer tourism, which may conceptually be opposed to one another. This study reveals anime's potential as a driver of new volunteer tourism and theoretically contributes to tourism research by redefining anime-induced tourism by relying on the concept of film-induced voluntourism. Using a comparative case study of the behavior of anime-induced volunteer tourists at three destinations, this study found that while anime-induced volunteer tourists have a feeling of gratitude for their host communities with a vacationer's mindset, they can realize positive outcomes, including economic benefits and problem solutions by engaging in cleaning-up activities at the destinations they visit. In conclusion, this study clarifies that anime tourism is one of the significant alternative forms of tourism that can achieve community development associated with film-induced voluntourists, resolving the negative effects of film-induced tourism and volunteer tourism. [ABSTRACT FROM AUTHOR]

With the advent of the information age and advancement of digital technology, film and television tourism is developing rapidly under the joint action of the film industry and tourism industry, and has become a crucial form of cultural and entertainment consumption for individuals to pursue a better life in the new age. This study designs three experiments from the perspectives of identity conversion, motivation transfer, and demand change to conduct an empirical study on the mediating role of empathy for further exploring the internal mechanism of film-induced tourism in film and television tourism. The findings suggest that the three mediation hypotheses are all valid, indicating that film-induced tourism involves identity conversion from audiences to visitors, motivation transfer from watching to traveling, and demand change from interest to expectation through emotional media. [ABSTRACT FROM AUTHOR]

Copyright of Turismo: Visão e Ação is the property of Turismo-Visao E Acao and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The tourism economy has become a new driving force for economic growth, and film-induced tourism in particular has been widely proven to promote economic and cultural development. Few studies focus on analyzing the inherent characteristics of the economic and cultural effects of film-induced tourism, and the research on the dynamic mechanism of the sustainable development of film-induced tourism is relatively limited. Therefore, from the perspective of the integration of culture and industry, the research explores the dynamic mechanism of sustainable development between film-induced culture and film-induced industry through a questionnaire survey of 1,054 tourism management personnel, combined with quantitative empirical methods. The conclusion shows that the degree of integration of culture and tourism is an important mediating role that affects the dynamic mechanism of sustainable development of film-induced tourism, and the development of film-induced tourism depends on the integration of culture and industry. Constructing a diversified industrial integration model according to local conditions and determining the development path of resource, technology, market, product integration, and administrative management can become the general trend of the future development of film-induced tourism.

With the advent of the information age and advancement of digital technology, film and television tourism is developing rapidly under the joint action of the film industry and tourism industry, and has become a crucial form of cultural and entertainment consumption for individuals to pursue a better life in the new age. This study designs three experiments from the perspectives of identity conversion, motivation transfer, and demand change to conduct an empirical study on the mediating role of empathy for further exploring the internal mechanism of film-induced tourism in film and television tourism. The findings suggest that the three mediation hypotheses are all valid, indicating that film-induced tourism involves identity conversion from audiences to visitors, motivation transfer from watching to traveling, and demand change from interest to expectation through emotional media.

The first studies of film and television as inducers of tourism appeared in the 1990s. In light of the role these media play in tourist decisions, studies of the capacity of audiovisual fiction to project a unique image of tourist attractions and destinations or to influence audience perceptions of them are particularly important. However, ever since research of this kind began, it has suffered from significant theoretical and methodological shortcomings associated mainly with the lack of an interdisciplinary approach. Most of the research has been in the field of tourism and marketing studies, with only a limited number of contributions from film and television studies. The objective of this article is to offer a critical review of studies exploring the relationship between audiovisual fiction and tourist destination image. The aim is to identify their conceptual shortcomings and to point out possible solutions with reference to audiovisual textual theory and analysis. The article begins with the identification of the main areas studied in this research: the effect on the attributes of tourist destinations and on their overall image, stereotypes, and the capacity of audiovisual fiction to vest the locations where their stories are set with different connotations. This is followed by an analysis of studies that exhibit more of an interdisciplinary approach by combining audiovisual studies and tourism studies. The article then addresses the debate over the types of audiovisual productions that researchers argue have the greatest tourism-inducing capacity. Finally, the conclusions point out possible future lines of research based more on explanation than on description, recommending the systematic incorporation of textual analysis into research on film-induced tourism, and particularly on its impact on tourist destination image. [ABSTRACT FROM AUTHOR]

Copyright of Tourism / Turyzm (08675856) is the property of Wydawnictwo Uniwersytetu Lodzkiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The present study aims at identifying the interest of Romanian tourists for film-induced tourism. For this purpose, an online research was carried out between 5 October and 4 November 2017. The data was collected from 463 participants through a self-administrated questionnaire. In a word, our research has highlighted that 82% of respondents are interested in practicing this type of tourism and the natural landscapes presented in movies seem to be the main reason (44%). Most respondents (83%) believe that such a vacation should last between 3 and 6 days. The interest for practicing film-induced tourism is primarily influenced by the geographic region where respondents are living and by their place of residence (urban/rural). The main limitation of this study is that the sample was not representative at national level, but nevertheless, some interesting results were obtained. These results could be used, for example, to promote domestic tourism.

Copyright of Turismo: Visão e Ação is the property of Turismo-Visao E Acao and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study aimed to systematically review the academic literature on film-induced tourism in Asia between 2011 and 2020 as a cross-disciplinary study, by identifying the recent trends, delineating the research gaps and the limitations of previous research, and proposing new directions for future research. Despite an increasing number of studies on film-induced tourism, Anglophonic literature, rather than studies on Asia, receive most focus. This article is the first such attempt at systematically reviewing the literature focusing on Asia. Moreover, previous literature on Asia lacks in comprehensively understanding film-induced tourism because it overlooks the cross-disciplinary perspective. This article fills this gap by synthesizing the existing literature from a cross-disciplinary perspective. Utilizing a systematic literature review approach, 67 articles were identified using one of the largest online databases, Web of Science. The results revealed three research trends: film tourism impact, destination image and marketing, and demand and motivation. The following gaps in the literature were also identified: film tourist experiences, the impact on host communities, tourism policy and regulation, the cultural construction of film tourism, and impact research from different stakeholders' perspectives. Moreover, studies on Asia benefit from expanding the existing concept of film-induced tourism by focusing on the contents rather than media. This study contributes by filling the gaps of film tourist experiences and cultural construction of film tourism. Furthermore, cross-fertilization of tourism and fandom studies is proposed. Finally, the practical contribution of the study is highlighted—the same contents can be used repeatedly in various formats for longevity. [ABSTRACT FROM AUTHOR]

Students and young people travel are a growing market, which is becoming increasingly important for tourism service providers. Film-induced tourism is also a rising form of tourism. However, there is not much research to link students' behavior to film-induced tourism. This research aims at researching two areas of tourism, focusing on students' general awareness of film-induced tourism and their experiences with accidental or intentional encounters with film settings. Furthermore, this paper also includes an analysis of students' interests in various film-related activities, such as visiting places that have become famous as a result of a movie, places where films have been cast, film-theme parks, movie tours or attending film premieres and film festivals. The study was conducted through an online survey in the form of a questionnaire that included both open and closed-ended questions. A total of 102 answers were collected and evaluated from students at various universities, up to age of 26 years. The interest in film-induced tourism among students is very high (about 88% wanting to participate in film-induced tourism activities), students being particularly keen on visits to places that have become famous as a result of a film (63.7%) and to places where movies were cast (61.5%). It also emerged that Romania is a little sought-after movie destination, but with a very high potential for growth, especially if the state was involved in promotion.

The aim of this study is to determine the impact of Bollywood movies and television programing on the travel behaviours of Indian tourists. 670 usable surveys were gathered and analysed. The involvement construct was utilized to segment respondents into three significantly different groups both demographically and attitudinally. Indians were highly engaged with Bollywood movies and television shows, particularly those highly involved with foreign travel. Highly involved Indians were more likely to participate in tourist activities at destinations shown in Bollywood movies and television programmes, especially visiting specific film locations, and visiting festivals, events and attractions seen in movies. Highly involved individuals use movies and television as motivation to travel more frequently than those who are less involved with international tourism. [ABSTRACT FROM AUTHOR]

This article proposes a theorization of audiovisual media promotion as a distinct media field. Despite their omnipresence, very few scholars have examined the aesthetic, thematic and institutional characteristics of tourism films, commercials and promotional videos. The field of tourism audiovisual promotion poses a significant conceptual challenge as it consists of a vast array of diverse media texts and aesthetic forms. Such vast aesthetic differences, along with the different promotional potential associated with each of these forms, complicate any straightforward definition of this media field. This article will use the analysis of a recent case study – the Dundee campaign launched by Tourism Australia in 2018 – to develop a theorization of audiovisual tourism promotion. In particular, it will argue that the meaning and function of tourism audiovisual promotional texts are determined by a 'discursive framework' which, in turn, is informed by converging textual and contextual factors. [ABSTRACT FROM AUTHOR]