The purpose of this study was to identify tourist profiles as a segmentation variable for three festivals (Innibos, Oppikoppi and Volksblad). Numerous segmentation studies have been done in the past; however, few were done where profiles were used as variables for segmentation of arts festivals. Market segmentation is the way in which tourism companies divide a market into smaller, more clearly defined groups that share similar needs, wants, and characteristics. Segmentation is important in order for a destination to target the right kind of visitor. Other reasons for doing this type of research is to increase the number of new tourist arrivals; to increase the length of stay of tourists; the amount of tourist expenditure per visitor stay and to broaden the activities and shows that are offered. Research for this study was undertaken at three festivals. These festivals are Innibos, Volksblad and Oppikoppi respectively. Questionnaires were distributed randomly during the course of the festivals. Data collection was done by field workers who distributed questionnaires to the attendants of the festivals. At each of the three festivals questionnaires were interviewer administered and the "recall method" was used, where respondents had lo recall their spending. It was also a destination-based survey, where interviews were held on-site during the event. Different sites were chosen to limit response bias towards a certain group of festival attendants. The questionnaires were distributed throughout the course of the three festivals respectively. The data was used to compile graphs and tables so that a profile of each festival can be designed. Correlations between the three festivals and their profiles were made. In this case the effect size is given by w= √(x2/n), where x2 is the usual Chi-square statistic for the contingency table and n is the sample size. In the special case of a 2x2 table, the effect size (w) is given by phi (Φ) coefficient. Note that the effect size is again independent of sample size. Oppikoppi has an average of 10 000 attendants, lnnibos and Volksblad have an average of approximately 30 000 attendants per year. The sample size of 400 questionnaires for Volksblad and 400 questionnaires for lnnibos was anticipated and 200 for Oppikoppi. The variables that were the focus point of this study were gender, occupation, language, province where the attendants reside, travel group size and number of days at festival. This information can contribute to better marketing and more targeted markets for a larger number of attendants. The organiser can determine what type of entertainment, music, song and dance can be packaged and marketed as a unique product. The research indicated that organisers from Volksblad and lnnibos can focus more on family entertainment that is suitable for the whole family. Oppikoppi is a rock festival and therefore the organisers can get more rock bands, especially Afrikaans rock. All three festivals are for Afrikaans speaking people so they can use Afrikaans magazines and newspapers as well as Afrikaans radio stations to market these festivals in the province of deliverance as well as bordering provinces. The study contributes to the information of the larger festivals that already exists like Aardklop, Grahamstown and KKNK. / Thesis (M.Com. (Tourism))--North-West University, Potchefstroom Campus, 2007.

The Caribbean, which is one of the most tourism-dependent regions of the world, is rich in cultural heritage, but it lacks developed and attractive cultural heritage sites. In particular, this is true for attractions that make use of the “dark” cultural heritage of the region which is associated with the Transatlantic Trade in Africans as slaves. This lack is seen as a major weakness in the region’s tourism product. This research explores the development of “dark” cultural heritage resources as attractions in the town of Falmouth, Jamaica, an 18th century port town that had a thriving economy during the peak period of British colonialism and the trade in Africans as slaves. Today, the economic importance of Falmouth is only a shadow of what it was during the infamous “glorious” days when sugarcane was “king and money in abundance” and Jamaica a leading sugar exporting colony was seen as a “jewel” in the English crown. A concurrent mixed method approach was used in the study where both qualitative and quantitative data from primary and secondary sources were collected and analysed. The methods that were used for data collection include questionnaire survey, semi-structured interviews, historical research and townscape survey. A systematic sampling technique was used to randomly select 100 households for a face-to-face questionnaire survey which achieved a 94% response rate. On the other hand, the purposive and snowball sampling methods were used to select twelve stakeholders for in-depth semi-structured interviews to ascertain their expectations and perspectives about the cultural heritage of the town. The textual data generated from the interviews were studied using content analysis, where substantive statements were identified from individual transcripts. Also, most appropriately, historical research was conducted to collect and evaluate historical information, such as written testimonies of eyewitnesses to events and also written accounts by person not immediately present at the time, but who obtained their description of events from someone else. In addition, a townscape survey was carried out to map, collect and evaluate data on a number of cultural heritage resources in Falmouth. It involved detailed field observation and the recording of the quality of townscape elements that are evaluated based on established criteria. Overall, the residents strongly supported tourism and argued for its development and expansion in Falmouth. They believed that the environmental, economic and socio-cultural benefits from tourism outweighed the negative implications of which they are fully aware. The data collection methods unearthed and confirmed that there is an abundance of dark cultural heritage in Falmouth that is associated with the Transatlantic Trade in Africans as slaves. Both tangible and intangible, highly rated cultural heritage resources were identified mainly in the Historic District. In all, twenty-seven cultural heritage resources and features that have the potential to be developed as attractions in support of a dark cultural heritage theme were identified, evaluated and catalogued. The major constraints to heritage development that were cited include: financial, psychological, absentee land owners, heritage designation’s restrictions, lack of consensus on developmental issues and some negative social perceptions. Residents and stakeholders suggested the following strategies to engage locals: sensitizing them to heritage development; providing them with information about opportunities as a result of the development; giving them practical information on ways to improve structures and restore buildings; providing them with information and education to build awareness about the cultural heritage of the town; and a public education campaign. Also, residents are amenable to: tour guiding, bed and breakfast operators, visitors’ service employees and involvement in planning conservation efforts. Residents attached a very high positive value to the cultural heritage resources of Falmouth even though they are aware that a lot of it is associated with the Transatlantic Trade. Such dark cultural heritage is deemed a significant part of the town’s heritage, so it is appropriate to use it for developing attractions for future generations where visitors can learn and be educated about the impact of the Transatlantic Trade. This position that the town should be developed as a destination where visitors can learn about slavery was supported by approximately 94% of the respondents to the questionnaire survey. Thus, the residents of Falmouth are motivated to tell the true story of the place. They unanimously are of the opinion that action should be taken to: promote Falmouth as a tourist destination, clean up and beautify Falmouth and provide job training for residents. Additional agreed and suggested actions include: infrastructure development; the development of educational awareness programmes; the development of heritage resources and related infrastructure; providing loans; grants and subsidies to building owners, building citizens’ awareness of cultural heritage and heritage programs; the provision of more entertainment facilities and activities; the development of Falmouth and addressing the cultural heritage of the town; A Master Plan is needed with a systematic way for its implementation along with the requisite funding; the implementation of a legislative framework to protect the town’s cultural heritage; the building of consensus among stakeholders; establishing a framework for the funding of restoration; engaging local and international organizations such as the JNHT and UNESCO; the sharing of plans at town-hall meetings; convene a meeting of all training agencies; and the development and implementation of a master plan. This research explored the development of Falmouth that has a “dark” and contested heritage, for sightseeing, learning and as an exemplary place for authentic experiences of identity for the African Diaspora. It will indeed help in the process to diversify Jamaica’s tourism product, contributes to the development of awareness and understanding of heritage at sensitive sites that are linked to humankind’s suffering and mass death. Finally, the study complements the UNESCO’s Slave Route Project that seeks to put an end to the historical silence on the African slave trade and slavery in general. The research concluded with a proposed planning framework for developing and promoting dark cultural heritage attractions.

Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-04-22T19:17:04Z No. of bitstreams: 2 Dissertacao Olivia Dias2.pdf: 7958204 bytes, checksum: 06cde82657a4139e0987aa6b24317b5a (MD5) Dissertacao Olivia Dias 1.pdf: 7879098 bytes, checksum: 3c374b60ba42bf1dea0b2bffc05adf28 (MD5) / Approved for entry into archive by Rodrigo Meirelles(rodrigomei@ufba.br) on 2013-05-11T15:38:19Z (GMT) No. of bitstreams: 2 Dissertacao Olivia Dias2.pdf: 7958204 bytes, checksum: 06cde82657a4139e0987aa6b24317b5a (MD5) Dissertacao Olivia Dias 1.pdf: 7879098 bytes, checksum: 3c374b60ba42bf1dea0b2bffc05adf28 (MD5) / Made available in DSpace on 2013-05-11T15:38:19Z (GMT). No. of bitstreams: 2 Dissertacao Olivia Dias2.pdf: 7958204 bytes, checksum: 06cde82657a4139e0987aa6b24317b5a (MD5) Dissertacao Olivia Dias 1.pdf: 7879098 bytes, checksum: 3c374b60ba42bf1dea0b2bffc05adf28 (MD5) Previous issue date: 2007 / O estudo analisa as viagens enquanto fenômeno social que obteve expressivo crescimento no mundo ocidental, sobretudo, a partir da segunda metade do século XIX. A pesquisa teve como objetivos compreender as motivações das viagens realizadas por diversos estrangeiros que estiveram no Brasil e passaram pela Bahia no período; identificar e analisar o estabelecimento de serviços de hospedagem, alimentação e lazer, viabilizado devido à permanência temporária desses personagens em terras baianas. Constatei que a interface entre viagens, serviços e atrativos possibilitou que a cidade do Salvador se constituísse em núcleo receptor de visitantes das mais variadas nacionalidades. A presença desses atores sociais levou à formação e consolidação de novas atividades comerciais, voltadas para atendê-los. Essa dinâmica exerceu influência na intensificação e reconfiguração das representações do lugar, promovendo novas formas de ver e interagir com o outro. / Salvador

Denna studie jämför de nya norska tågresefilmerna inom så kallad sakte-TV (eller Slow TV) med den tidiga filmens phantom rides. I båda fallen dominerar ett förstapersonsperspektiv filmat i tågets färdriktning och uppsatsen undersöker hur likheter och skillnader i stilmässiga grepp och paketering relaterar till samtida uppfattningar kring tid och rum. Vidare utforskas om det moderna fenomenet kan ses som en återkomst av en vy-baserad filmestetik, där den så annars vanligt narrativa konstruktionens dominans förflyttas till bakgrunden.

Islands turismutveckling har genomgått stora förändringar under det senaste decenniet och turismen har ökat rekordartat, vilket har medfört att turismindustrin ligger steget efter utvecklingen på flera plan, däribland turisternas säkerhet. Det framgår att både trafikincidenter och olyckor i naturen ökar i takt med att turisterna blir fler. En av de mest olycksdrabbade natursevärdheterna är den populära lavastranden Reynisfjara. I studien undersöks hur organisationer och aktörer kopplade till turism på Island hanterar och planerar för risker på natursevärdheter. Undersökningen baseras på nio kvalitativa intervjuer med isländska organisationer och turismaktörer, däribland turistrådet, polisen, markägare och ett räddningsteam. Vidare undersöks Reynisfjara i en fallstudie där faktorer som påverkar turisters säkerhet definieras. De teoretiska utgångspunkterna inkluderar planering, riskhantering och kommunikation. Resultatet visar att trafikolyckor är de vanligaste incidenterna bland turister. Således utgör den fysiska planeringen inom infrastrukturen en påverkande faktor för säkerheten. En ytterligare på-verkande faktor är turisters riskbenägenhet och hänsynslöshet gentemot risker. Resultatet visar vidare att turisters säkerhet på natursevärdheter påverkas av i vilken utsträckning inblandade aktörer planerar för riskhantering. Ett systematiskt arbetssätt för planeringsprocessen saknas och säkerhets-åtgärder vidtas främst när en olycka redan inträffat. Samarbetet kring resursfördelning och lagstiftning mellan myndigheter och aktörer inom turismindustrin, visar sig vara avgörande för att öka säkerheten. Avslutningsvis visar studien att de inblandade aktörerna inte är en enhetlig grupp avseende planering, riskhantering och ansvarsområden. Riskhanteringen på Island utgörs idag av ett fleraktörssystem, vilket har lett till en splittrad ansvarsfördelning. Ansvaret för turisternas säkerhet ligger i deras egna händer. / Icelandic tourism development has undergone major changes over the past decade, tourism has increased rapidly, which has lead to the tourism industry being behind in developments on several levels, including tourist’s safety. It appears that both traffic incidents and accidents in the nature increases as the tourists increase. Reynisfjara a lava beach, is one of the most popular nature attractions and also were accidents occure among tourists. In this study organizations and operators connected to tourism in Iceland are examined on how they manage and plan regarding risks in natural attractions. The survey is based on interviews with nine organizations and tourism stakeholders, including the Icelandic Tourist Board, the police, landowner, rescue team and a case study on Reynisfjara where factors affecting tourists safety are defined. The theoretical approach includes planning, risk management and cooperation. The results show that the most common accidents among tourists are traffic accidents. Thus the planning of physical infrastructure is an influencing factor. Another influencing factor is the tourists' tendency and recklessness against the risks. It appears that the tourists' safety in natural attractions are influenced by the extent to which those involved are planning for risk management. A systematic approach to planning is lacking and safety measures are mainly done when an accident has already occurred. Cooperation on the allocation of resources and legislation between the authorities and operators in the tourism industry, proves to be crucial to increase safety. The study shows that the players involved are not a unified group regarding planning, risk management and responsibilities. Risk management in Iceland today consists of a multi-operator system, which has led to fragmented responsibilities. Responsibility for tourists' safety lies in their own hands.

Made available in DSpace on 2016-04-26T18:11:15Z (GMT). No. of bitstreams: 1 Camila Biasotto de Araujo.pdf: 2578346 bytes, checksum: 1892c4ba79a9209026115422acd54cb6 (MD5) Previous issue date: 2011-10-27 / This research seeks to understand the primordial 20 years of the cinema in the United States in which concerns about the changes in the way mode of films were produced and exhibited, and also those presented in the cinematographic industry. The period analyzed here corresponds to the years between 1895 and 1915; and it is subdivided between Early Cinema or Cinema of Attractions (1895-1907) and Period of Transition (1907-1915). During the Early Cinema, or Cinema of Attractions, the filmic language established did not seek necessarily to narration and linearization. It aimed at images exhibition, attracting the audience attention rather than telling stories. In this phase, it is notability resources such as trucage and close-up, but camera resources, edition, production and performance were not directed to a narrative story. The industry, in this first period, was not completely developed. Among the enterpriser alternated magician, non-professional scientists and even big companies, as Edison Co. The cinema was not the main attraction and was showed with vaudeville numbers. From 1907, cinema became the main attraction and earned its own space to its projection, called nickelodeons. Its low cost attracted a big public and the enterpriser realized the potential of film to generate profit. There were efforts to nationalize at most the production of film and monopolize its means of production. The efforts resulted on a Trust that dominated the system of production and exhibition in the period of transition in the United States, the Motion Picture Patents Company. The films also obtained new characteristics: influenced by foreign films that brought more narrative stories, new camera movements, and various planes utilization, the American producers were impelled to adopt those characteristics and improve them until reach a cinema with a more narrative and linear language. By decoupage of films which constitute the corpus, we realize that some stylistic resources form the Early Cinema were maintained on the period of transition and even after, in the classic cinema, although their function were transformed. We give prominence to crucial social, scientific and technologic changes in the American society between 1895 and 1915 that collaborated to the great success of cinema. Hence, we sought to make explicit the filmic and industrial characteristics of the Early Movies and the Cinema of Transition, connecting each of them, and compose this period historically, in order to analyze how those periods of cinema were able to configure themselves inside their historical age / Esta pesquisa busca compreender os 20 anos iniciais do cinema nos Estados Unidos no que diz respeito às mudanças na forma de produzir e exibir os filmes, e também àquelas que se fizeram presentes na indústria cinematográfica. O período aqui abordado corresponde aos anos entre 1895 e 1915; ele é subdividido em Primeiro Cinema ou Cinema de Atrações (1895 a 1907) e Período de Transição (1907 a 1915). Durante o primeiro cinema, ou cinema de atrações, a linguagem fílmica estabelecida não visava necessariamente à narração e à linearização. Sua intenção não era tanto contar histórias, e focava-se mais em exibir imagens filmadas, atraindo a atenção do público. Nesta fase, há o destaque para recursos como a trucagem e close-up, mas os recursos de câmera, a edição, a produção e a atuação não eram dirigidos para uma história narrativa. A indústria, neste primeiro período, ainda se desenvolvia. Entre os empreendedores variavam desde mágicos e amadores da tecnologia e da ciência até grandes empresas, com a Cia. Edison. O cinema não era atração principal e era apresentava junto aos números de vaudevile. A partir de 1907, o cinema se tornou a atração principal, recebendo um espaço próprio para sua exibição, os chamados nickelodeons. Seu baixo custo atraiu um grande público e os empreendedores perceberam o potencial que o cinema tinha em gerar lucros. Houve um esforço para nacionalizar ao máximo a produção de filmes e monopolizar seus meios de produção. Estes esforços resultaram na formação de um truste que dominou o sistema de produção e exibição no período de transição nos Estados Unidos, a Motion Picture Patents Company. Os filmes também adquiriram novas características: com a influência do cinema estrangeiro que traziam histórias mais narrativas, novos movimentos de câmera e utilização de diversos planos, os produtores norte-americanos se viram impelidos a adotar estas características e aperfeiçoá-las até atingir um cinema com linguagem mais narrativa e linear. Por meio da decupagem dos filmes que compõem o corpus de análise, percebeu-se que alguns recursos estilísticos do primeiro cinema foram mantidos no período de transição e mesmo posteriormente, no cinema clássico, embora sua função fosse alterada. Importante ressaltar também que no período abordado, ou seja, entre 1895 e 1915 também ocorreram mudanças sociais, científicas e tecnológicas cruciais na sociedade norte-americana que colaboraram para o grande sucesso do cinema. Desta forma, buscou-se nesta pesquisa explicitar as características fílmicas e industriais do primeiro cinema e do cinema de transição, correlacionando-as, e contextualizar este período historicamente, a fim de analisar em que medida estes períodos do cinema puderam se configurar dentro de sua época histórica

Manufactured, experiential, consumption environments are increasingly mimicking the design techniques and principles on display within the Disney theme parks. One particular example of an experiential consumption environment which has been influenced by the Disney-style approach to business is the shopping mall. These commercialized attractions offer a distant alternative, and distraction, to everyday life. The theoretical concept of Disneyization offers insight into what visitors to these manufactured experiential consumption destinations are (assumed to be) searching for - and in-turn receiving. This thesis specifically focuses on 1) the development and design of the New Zealand shopping mall by assessing the extent to which identified elements of the Disney theme parks are replicated within the country's shopping destinations 2) the degree to which experiential consumption environments are being developed within New Zealand. Based upon the review of completed fieldwork, the 'System of Objects' theory proposed by Baudrillard and image association perspectives of Eco are added to the theoretical analysis as a complimentary aside to the Disneyization concept. These works also further highlight the link between experiential consumption environments and those who visit them.

<p>The thesis examines ’intermediality’ in Svenska Bios (Swedish Biograph) first fiction films. Värmlänningarne (1910), Fänrik Ståls Sägner (1910), Bröllopet på Ulfåsa (1910), Regina von Emmeritz och Konung Gustaf II Adolf (1910), Amuletten (1910), Emigranten (1910) and Järnbäraren (1911) are analysed in relation to theatre, literature, music and ‘reality’. A detailed discussion of intermediality is combined with specific theories relating to pictorialism and literary presentation in film. The thesis conclude, that early fiction films in general, and Svenska Bios films in particular, depended on their association with other media. The thesis also includes a short discussion concerning silent cinema music.</p>

<p>The thesis examines ’intermediality’ in Svenska Bios (Swedish Biograph) first fiction films. Värmlänningarne (1910), Fänrik Ståls Sägner (1910), Bröllopet på Ulfåsa (1910), Regina von Emmeritz och Konung Gustaf II Adolf (1910), Amuletten (1910), Emigranten (1910) and Järnbäraren (1911) are analysed in relation to theatre, literature, music and ‘reality’. A detailed discussion of intermediality is combined with specific theories relating to pictorialism and literary presentation in film. The thesis conclude, that early fiction films in general, and Svenska Bios films in particular, depended on their association with other media. The thesis also includes a short discussion concerning silent cinema music.</p>

The thesis examines ’intermediality’ in Svenska Bios (Swedish Biograph) first fiction films. Värmlänningarne (1910), Fänrik Ståls Sägner (1910), Bröllopet på Ulfåsa (1910), Regina von Emmeritz och Konung Gustaf II Adolf (1910), Amuletten (1910), Emigranten (1910) and Järnbäraren (1911) are analysed in relation to theatre, literature, music and ‘reality’. A detailed discussion of intermediality is combined with specific theories relating to pictorialism and literary presentation in film. The thesis conclude, that early fiction films in general, and Svenska Bios films in particular, depended on their association with other media. The thesis also includes a short discussion concerning silent cinema music.