The principal purpose of this thesis is to investigate the relationships between film genres and the decision-making process of the tourist. Within the tourism industry, the specific type of tourism-Film Tourism-has recently been recognised and approached in several research projects and case-studies. As a result of these efforts, the researchers agree that, in certain conditions, a film may influence the decision of the viewer to travel to the destination that such film portrays. However, due to the recent recognition of this type of tourism and consequent low number of explanatory research in this area, there is an evident lack of understanding about the underlying reasons why films may have such a stimulating effect on tourist decisions. To develop deeper understanding of this newly emerged type of tourism, it is vital to research different elements of the film and their possible effects on tourism-related decisions of the viewer. This pioneering study focuses on the previously neglected “genre” element of the film and the role of this element in the overall influence of the film on the tourist’s decision making process. Accordingly, an extensive survey (n=241) was conducted, implemented via the Internet and to randomly selected Exeter residents. The survey was followed by a series of in-depth semi-structured interviews (n=10) of randomly selected respondents from Exeter. The results suggest that film genres may affect the motivational factors, such as Exciting and Achievement (Yoon and Uysal, 2005). Moreover, emotions are an important factor in the decisions of Film Tourists (Kim, 2012), and films of specific genres may infuse destination with such emotions, alter the destination image and create an interest in the destination. The major contribution of this study is the discovery that the effect of film genres on the Film Tourist is but a small subconscious part of the overall film influence, which encompasses a wider range of elements such as visual beauty, plot, actors, credibility and the atmosphere. Moreover, it would appear that, for most tourists, film is an additional and not a primary factor which creates a wish to travel. The visual portrayal of the destination is the key element which determines whether the film will affect the decision of the viewer to travel, but the genres of the film may allow the prediction of tourist type and possible travel behaviour.

This Master thesis deals with the film tourism in the Bohemian Paradise. The main part of the Thesis is focused on the analysis of Bohemian Paradise as a place suitable for film tourism and the evaluation of the offer in the field of film tourism. To achieve these goals was used among others SWOT analysis and the method of benchlearning. The result of the Thesis is finding that in the Bohemian Paradise is the potential for the development of film tourism but it is not used to the maximum. Based on the analysis are presented recommendations for the new products of film tourism which could destination management organization offer in its territory.

Film tourism is a widely growing phenomenon with various benefits the filmed location can take advantage of. This study examines the impacts of a Turkish television series named Kavak Yelleri on its screened location, a Turkish Aegean Seaside town named Seferihisar. Besides the impacts of the series, the relationship between the screened location and the film crew is studied. This case includes a further particular feature; the screened location in Kavak Yelleri is named after another existing town, Urla, in the storyline, while it is actually filmed in Seferihisar. A qualitative case study approach has been implemented in order to scrutinize the subject. The empirical data was conducted through interviews with the municipality of Seferihisar and its local people, local people of Urla, and an interview with a member from the film crew of Kavak Yelleri. a) It becomes evident that the television series has positive social and economical impacts on Seferihisar. The power of media and the presence of the film crew are the main contributors. b) The discrepancy of location name between reality and storyline has affected the path of the film tourists. c) A well handled relationship between the screened location and film crew can have valuable implications for tourism.

Like books and paintings, which are the channels that have inspired us to fantasize on travelling to new and exotic places, films are the modern motivators of today that can through moving image make us value to visit certain places (Beeton 2005, 4). For some it can be a form of escapism or pilgrimage and for many these places are the connection between real and imaginary. By depicting a particular place in a film, we can claim it will certainly stimulate in our interest towards traditional touristic campaigns (Hudson & Ritchie 2006, 387). It is common knowledge that movie and television products have an effect on tourism, that is, that in some way people are induced to increase or otherwise change their consumption of tourism products. Television and films are the most popular and influential vehicles for attracting people‘s attention among diverse visual media alternatives (Kim et al., 2007). So, it is perfectly understandable that the impact of films has been widely known to people‘s image formation for a place (Butler, 1990; Riley and van Doren, 1992; Gartner, 1993; Schofield, 1996; Iwashita, 2003; Kim and Richardson, 2003). Films are not generally produced with the intent to attract tourists to a destination, but tend to influence viewers indirectly through the movie‘s message (Butler, 1990). This is because they can present millions of viewers with substantial information about a destination, create a first-time image or alter an existing image in a relatively short period of time (Hahm et al., 2008). Many authors, such as Beeton (2000, 2002, 2005, 2007, 2008), Busby and Klug (2001), Connell and Meyer (2009), Crouch (2007), Croy and Buchmann (2009), Daye (2007), Hudson and Ritchie (2006a, 2006b), Hyunjung and Chon (2008), Iwashita (2007) Kim and Richardson (2001, 2003), Liou (2010) and Macionis (2004) have discussed the influence of films and the ways viewers gain images, information and consciousness of destinations, which in turn, affect their decision-making process, and they have also examined the behavior of the film induced tourist. Films and television programmes, especially with the emanation of satellite television channels, boost an increase in visitor numbers to the portrayed locations. This phenomenon has been recorded worldwide (Busby and Klug, 2001). Furthermore, watching television is still the most common home-based leisure activity and the amount of time spent to watch television is expanding (Busby and Klug, 2001); therefore, film-induced tourism is expected to attract more attention. For these reasons, in addition to the speedy growth of the film industry, destination marketers can be seen to be influenced to place their destinations in films and television shows as it is an effective promotional tool (Jewell and McKinnon, 2008; Nicholson, 2006; O‘Connor, 2010; Yilmaz and Yolal, 2008). Film-induced tourism has been heightened also by the increasing reach of satellite and cable television subscription, the use of DVDs, the increasing number of cinemagoers and the continuous development of digital technology (Belch and Belch, 2004; Kim et al., 2007; Shani et al., 2009). Moreover, the shelf life of films is longer than the first viewing and could have a longer effect on than other promotional tools (Warnick et al., 2005). The literature indicated also that 3D-visual effects of film create inherent images of a destination by introducing a vivid experience, which seems less biased or is less recognizable as promotional (O‘Connor et al., 2010; Schofield, 1996). A typical movie with international distribution can now reach over one hundred million consumers as it moves from box office, to video/DVD to TV. As a consequence, for a destination, the publicity generated by a major motion picture and by the high-profile actors can be tremendous (Beeton, 2005). Researchers have already asserted that films are more likely to reach wider audiences with less investment than specifically targeted tourism advertisements and promotion (Dore and Crouch, 2003). As a result, film-induced tourism or film tourism as it is referred to in this paper, can be an effective marketing tool for destinations that lack financial backing for strong advertising campaigns, especially at a time of economic downturn. But despite the growing awareness of the relationship between film and tourism, as well as the anecdotal application of film tourism in destination marketing, the impacts of film tourism still appear to be under-appreciated. Though the effects of film tourism can be long lasting and have significant long-term economic and social effects, many tourism organizations have been slow to tap the potential benefits of film tourism, perhaps due to a lack of knowledge, research or evidence that explains the potential of film tourism (Hudson and Ritchie, 2006). In this article a conceptual framework for understanding the film tourism phenomenon is presented and then, using the case study method, reports show the tourism impact of the film "Che ne sara di noi" on the island of Santorini in Greece. / Όπως και τα βιβλία και τα έργα ζωγραφικής, τα οποία είναι τα κανάλια που μας ενέπνευσαν να φαντασιώνονται για ταξίδια σε νέους και εξωτικά μέρη, οι ταινίες είναι οι σύγχρονες κίνητρα του σήμερα που μπορεί να τους κινητούς εικόνα μας κάνουν τιμή να επισκεφθούν ορισμένους χώρους (Beeton 2005, 4). Για κάποιους μπορεί να είναι μια μορφή φυγής ή προσκύνημα και για πολλούς αυτά τα μέρη είναι η σχέση μεταξύ πραγματικού και φανταστικού. Με απεικονίζει μια συγκεκριμένη θέση σε μια ταινία, μπορούμε να ισχυριζόμαστε ότι θα τονώσει σίγουρα προς το συμφέρον μας προς τις παραδοσιακές τουριστικές καμπάνιες (Hudson & Ritchie 2006, 387). Είναι κοινή γνώση ότι η ταινία και τηλεοπτικά προϊόντα έχουν κάποια επίδραση στον τουρισμό, δηλαδή, ότι κατά κάποιο τρόπο οι άνθρωποι διεγείρονται για να αυξήσετε ή με άλλο τρόπο να αλλάξει την κατανάλωση των τουριστικών προϊόντων. Η τηλεόραση και οι ταινίες είναι οι πιο δημοφιλείς και σημαίνοντες οχήματα για να προσελκύσουν την προσοχή των ανθρώπων μεταξύ των διάφορων εναλλακτικών λύσεων οπτικών μέσων (Kim et al., 2007). Έτσι, αυτό είναι απολύτως κατανοητό ότι ο αντίκτυπος των ταινιών έχει γίνει ευρέως γνωστό για το σχηματισμό της εικόνας των ανθρώπων για μια θέση (Butler, 1990? Riley και ο van Doren, 1992? Gartner, 1993? Schofield, 1996? Ινναδίώα, 2003? Kim και Richardson, 2003). Ταινίες που δεν παράγονται γενικά με την πρόθεση για την προσέλκυση τουριστών σε έναν προορισμό, αλλά τείνουν να επηρεάζουν τους θεατές έμμεσα μέσω του μηνύματος της ταινίας (Butler, 1990). Αυτό οφείλεται στο γεγονός ότι μπορούν να παρουσιάσουν τα εκατομμύρια των τηλεθεατών με ουσιαστικές πληροφορίες για έναν προορισμό, να δημιουργήσει μια πρώτη φορά την εικόνα ή να τροποποιήσει μια υπάρχουσα εικόνα σε ένα σχετικά σύντομο χρονικό διάστημα (Hahm et al., 2008). Πολλοί συγγραφείς, όπως Beeton (2000, 2002, 2005, 2007, 2008), Busby και Klug (2001), Connell και Meyer (2009), Κράουτς (2007), Croy και Buchmann (2009), Daye (2007), Hudson και Ritchie (2006a, 2006b), Χιουιντούνγκ και Τζον (2008), Ινναδίώα (2007) Kim και Richardson (2001, 2003), Liou (2010) και Macionis (2004) εξέτασαν την επίδραση των ταινιών και τους τρόπους με τους τηλεθεατές να αποκτήσουν τις εικόνες, πληροφοριών και τη συνείδηση των προορισμών, οι οποίες με τη σειρά τους, επηρεάζουν τη διαδικασία λήψης αποφάσεων τους, και έχουν επίσης εξετάσει την συμπεριφορά της ταινίας που προκαλείται τουριστικά. Ταινιών και τηλεοπτικών προγραμμάτων, ιδίως με την εκπόρευση του δορυφορική τηλεόραση, την τόνωση αύξηση του αριθμού των επισκεπτών στα απεικόνισε θέσεις. Αυτό το φαινόμενο έχει καταγραφεί σε όλο τον κόσμο (Busby και Klug, 2001). Επιπλέον, βλέποντας τηλεόραση εξακολουθεί να είναι το πιο κοινό σπίτι-βασισμένη ψυχαγωγική δραστηριότητα και το ποσό του χρόνου που δαπανάται για να παρακολουθήσουν τηλεόραση επεκτείνεται (Busby και Klug, 2001)? Ως εκ τούτου, ταινία που προκαλείται από τον τουρισμό αναμένεται να προσελκύσει περισσότερο την προσοχή. Για τους λόγους αυτούς, εκτός από την ταχεία ανάπτυξη της κινηματογραφικής βιομηχανίας, έμποροι προορισμού μπορεί να δει να επηρεαστεί να τοποθετήσει τους προορισμούς τους σε ταινίες και τηλεοπτικές εκπομπές, καθώς είναι ένα αποτελεσματικό εργαλείο προώθησης (Jewell και McKinnon, 2008? Nicholson, 2006? O 'Connor, 2010? Γιλμάζ και Yolal, 2008). Ταινία-προκαλείται από τον τουρισμό έχει αυξημένο επίσης από την αυξανόμενη απόσταση από δορυφορική και καλωδιακή τηλεόραση συνδρομή, τη χρήση των DVD, η αύξηση του αριθμού των του κινηματογράφου και η συνεχής ανάπτυξη της ψηφιακής τεχνολογίας (Belch και Belch, 2004?. Kim et al, 2007? Σάνι et al., 2009). Επιπλέον, η διάρκεια ζωής των ταινιών είναι μεγαλύτερη από την πρώτη προβολή και θα μπορούσαν να έχουν μεγαλύτερη επίδραση στη σχέση με άλλα εργαλεία προώθησης (Warnick et al., 2005). Η βιβλιογραφία αναφέρεται επίσης ότι το 3D-οπτικά εφέ της ταινίας δημιουργούν εγγενείς εικόνες ενός προορισμού εισάγοντας μια ζωντανή εμπειρία, η οποία φαίνεται λιγότερο προκατειλημμένη ή είναι λιγότερο αναγνωρίσιμο ως διαφημιστικό (O'Connor et al, 2010?. Schofield, 1996). Μια τυπική ταινία με διεθνή διανομή μπορεί να φτάσει τώρα πάνω από εκατό εκατομμύρια καταναλωτές καθώς κινείται από το γραφείο κουτί στο βίντεο / DVD στην τηλεόραση. Ως εκ τούτου, για έναν προορισμό, η δημοσιότητα που παράγεται από μια μεγάλη κινηματογραφική ταινία και οι ηθοποιοί υψηλού προφίλ μπορεί να είναι τεράστια (Beeton, 2005). Οι ερευνητές έχουν ήδη ισχυρίστηκε ότι οι ταινίες είναι πιο πιθανό να προσεγγίσουν ένα ευρύτερο κοινό με λιγότερες επενδύσεις από ειδικά στοχευμένες διαφημίσεις του τουρισμού και την προώθηση (Dore και Crouch, 2003). Ως αποτέλεσμα, η ταινία που προκαλείται από τον τουρισμό ή φιλμ του τουρισμού, όπως αναφέρεται στο παρόν έγγραφο, μπορεί να είναι ένα αποτελεσματικό εργαλείο μάρκετινγκ για προορισμούς που δεν έχουν την οικονομική υποστήριξη για μεγάλες διαφημιστικές καμπάνιες, ειδικά σε μια περίοδο οικονομικής ύφεσης. Όμως, παρά την αυξανόμενη συνειδητοποίηση της σχέσης μεταξύ της ταινίας και του τουρισμού, καθώς και τα υπάρχοντα μη εφαρμογή του τουρισμού ταινία στο μάρκετινγκ προορισμού, οι επιπτώσεις του τουρισμού ταινία φαίνεται ότι εξακολουθεί να είναι από τις πιο παρεξηγημένες. Αν και οι επιδράσεις του τουρισμού ταινία μπορεί να είναι μακράς διαρκείας και έχουν σημαντικές μακροπρόθεσμες οικονομικές και κοινωνικές επιπτώσεις, πολλοί τουριστικούς οργανισμούς άργησαν να αξιοποιήσει τα πιθανά οφέλη του τουρισμού ταινία, ίσως λόγω της έλλειψης γνώσης, έρευνας ή αποδεικτικών στοιχείων που να εξηγεί το δυναμικό του τουρισμού ταινία (Hudson και Ritchie, 2006). Σε αυτό το άρθρο ένα εννοιολογικό πλαίσιο για την κατανόηση του φαινομένου του τουρισμού ταινία παρουσιάζεται και στη συνέχεια, χρησιμοποιώντας τη μέθοδο της μελέτης περίπτωσης, εκθέσεις δείχνουν την επίδραση του τουρισμού της ταινίας 'Che ne sara di noi' στο νησί της Σαντορίνης στην Ελλάδα.

Literary tourism refers to any travel inspired by literature. This dissertation considers literary tourism from the perspective of a contemporary literary tourism attraction. It investigates the origins of literary tourism both in the historical context as well as in academic writing as interdisciplinary research between geography and literature. The current state of literary tourism research is also considered and the main research themes at present are identified, that is, authenticity and who the literary tourists are. This study also considers what the future might hold for literary tourism by looking at popular contemporary examples, including the works of J.K. Rowling, G.R.R. Martin, J.R.R. Tolkien, Dan Brown, Stieg Larsson and L.J. Smith. In this context, literary tourism’s reciprocal relationship with film tourism is unpacked. This dissertation then moves on to discuss the main focus of this investigation. A mere decade ago, the world was unaware of a book series called The Twilight Saga by Stephenie Meyer. Yet in a few short years, the literary tourism associated with this series has turned a small town in northwest Washington State into a tourism phenomenon. This study considers the development, extent and impact of literary tourism on this town, called Forks. It also considers other literary and film tourism sites associated with The Twilight Saga to show the vast range of the impact literature can have on tourism. / Dissertation (MHCS)--University of Pretoria, 2014. / tm2015 / Historical and Heritage Studies / MHCS / Unrestricted

Film tourism is fast becoming a recognised and lucrative sector within the tourism industry. Film tourism combines knowledge from the tourism industry with that of the film industry in such a manner that it offers an attractive opportunity that can be included when marketing South Africa as a destination. The purpose of the study is to explore the attractiveness of the film tourism market for destinations, identify the unique aspects involved when marketing a destination though film tourism, explore the marketing strategies used by the local South African DMOs and local and foreign film commissions/offices in attracting international film producers, determine what local South African DMOs and local and foreign film commissions/offices perceive as important factors in attracting international film producers, determine and describe the factors influencing international film producers’ selection of a location, determine international film producers’ perceptions of South Africa as a film location in terms of these factors, develop a model for promoting South Africa as an ideal film location to international film producers and then relate the developed model to guidelines in accordance with the services marketing mix (7 Ps). The results obtained identified a number of factors that influence international film producers’ selection of a location and the model can be used to assist DMOs in developing effective marketing strategies in order to attract international film producers to South Africa. This was a qualitative study where three data collection instruments were used on four participant groups; secondary data was also analysed. It was found that South African DMOs do not yet have a working relationship with the relevant film industry leaders; that local film commissions’/offices’ current marketing activities are in line with foreign film commissions’/offices’ marketing strategies; that local DMOs and local and foreign film commissions/offices are more often than not aware of the factors influencing international film producers’ selection of a location and that South Africa has a positive image as a film destination. This research contributes to tourism literature by developing a model and suggesting guidelines that could be used by South African DMOs to attract more international film producers to the country and thus ultimately increase the number of film tourists who visit. All South African DMOs should consider the suggested guidelines when developing a marketing strategy for promoting South Africa as a preferred film destination to international film producers. / Dissertation (MCom)--University of Pretoria, 2014. / tm2015 / Tourism Management / MCom / Unrestricted

This study aims to explain the incentives and travel patterns for people who have consumed popculture tourism. Pop-culture refers to popular products such as video-games, comic-books, literature, film and t.v-shows. Pop-culture tourism refers to destinations and attractions based on popular culture products such as conventions, events, exhibitions, theme parks and destinations. This study takes on a qualitative approach in order to do so. The results were then analyzed through four different theories; Bourdieu’s theory on different capitals, his theory on habitus, his theory on fields and Lundberg & Lexhagen’s figure: Pop-culture Tourism: A Research Model. The results showed that the respondents social upbringing and (social) media consumption plays a central role in order for individuals to consume and partake in pop-culture tourism. Results did also show that cultural capital and social capitals was prominent for individuals who consume and partake in popculture tourism. / Denna studie har som syfte att belysa individers motiv och val att besöka pop-kultursrelaterade attraktioner och destinationer. Pop-kultur i denna uppsats syftar till populära produkter såsom tvspel, serietidningar, litteratur, film och tv-serier. Pop-kultursturism syftar till destinationer och attraktioner som är baserade på de sistnämnda vilket kan vara konventioner, event, utställningar, temaparker eller destinationer. Till denna studie har en kvalitativ ansats tillämpats för att besvara uppsatsens syfte och frågeställningar genom att utföra semi-strukturerade intervjuer. Intervjuerna analyserades sedan genom fyra olika teorier; Bourdieu’s teorier om kapital, fält och habitus samt Lundberg och Lexhagens modell “Pop-culture Tourism: A Research model”. Resultaten visade att exponering av pop-kultur i respondenternas uppväxt, sociala umgängen och (sociala) mediekonsumtion spelade en central roll i konsumtionen och deltagandet av pop-kultursturism. Resultaten visade även att kulturellt kapital (ett intresse av en viss pop-kulturell produkt) och socialt kapital (individens habitus) var betydande för individer som deltar i pop-kultursturism.

This diploma thesis analyzes the development potential of film tourism for the domestic tourism of the Czech Republic. The aim is to determine whether the Czech Republic is perceived by residents as an attractive tourist destination for leisure or vacation and if they would be interested in film tourism products. The introductory chapter is devoted to the definition of basic concepts relating to tourism and destination marketing. The second theoretical part pays attention to film tourism and its characterization, including the definition of the concept, history of the development of film tourism, typology of film tourists and a description of its forms and products. Closely are described the possibilites of using the film as a destination marketing tool in the different life stages of the film (before, during and after filming) and the function of individual institutions dedicated to the promotion of film regions in the country. The practical part analyzes the development potential of film tourism in the Czech Republic, which is based on the analysis of secondary sources and a survey among residents. The attention is payed to the popularity of czech film production, the current state of the domestic tourism and to the offer of film tourism products in the Czech Republic. The last chapter is devoted to the proposal of a solution of film tourism product for a selected destination of the Czech Republic - Usti Region.

This paper is an inventory of the general motivations of Swedish film tourists. The paper is based on a quantitative research survey to gain insight from Swedish film tourists in the matter of what it is in movies that are motivating them to travel. The motivations behind film tourists visiting film destinations in a qualitative perspective, are storytelling, authenticity, film tourists gaze and fandom. By travelling to film destinations tourists takes part of magical tourism experiences. The paper has a deductive view point to the subject of film tourists and the results from the survey are collected from communities on Facebook called Harry Potter-fans in Sweden, Star Wars Sweden and The lord of the ring-fans in Sweden. The result from the survey shows that Swedish film tourists from these communities are motivated by the terms of storytelling, authenticity, film tourists gaze and fandom and that they are all experiencing something extraordinary when they travel because of movies. The motivations are also the foundation and the general aspect of travelling to film destinations, which either push or pull the film tourists towards the film destinations.

This study seeks to gain an insight into the experiences Lord of the Rings tourists have on guided tours in New Zealand and the role of the tour guide(s) in that experience. The study examines motivations, expectations, actual experience and its evaluation and the role of the tour leader and guides. By drawing primarily on the results of qualitative research that examined the experience of film tourists and other people involved in the film tourism industry over a span of three years, I identified underlying motivations involved in the production and consumption of film tourism. The study found that pre-tour images of Lord of the Rings and its publicity surrounding the making of the films play a significant role in the formation of film tourists' expectations. The emotional relationship towards the films and the novel by J.R.R. Tolkien had motivated film tourists to seek a meaningful and sincere experience. Furthermore, the film and its making as discussed on the DVDs, further publicised myths like the authenticity of the film production itself and the experience of great meaning for one's personal life. Consequently, the study found that most film tourists put a high significance on the sincerity of the relationships within the tour community and with the tour leader and guide(s). The film location visit itself was experienced as highly rewarding but was significantly enhanced by the presence of the tour community ('fellowship'), reenactments and the physical presence on site. This embodiment was crucial for the overall experience as it further authenticated the location visit but also the journey itself as a worthy and spiritual endeavour. It was shown that the New Zealand image of 'green', 'clean' and 'exotic otherness' has been reinforced by multiple media portraits and matches many aspects of the Middle-earth image. All film tourists judged the use of New Zealand for the portrayal of Middle-earth as 'authentic' even if they knew about J.R.R. Tolkien's British background. Furthermore, they judged their film tourism experience as authentic even though the locations were used in a fictional setting. Thus the notions of object authenticity was explored and replaced with the concepts of existential authenticity and sincerity to shift the focus towards the active process of negotiation of authenticity in the tourism experience. To understand tourists' behaviour and motivation, notions of 'spirituality' and 'pilgrimage' were also employed. The study tourists undertook a meaningful and spiritually significant journey that was enhanced through the experience of embodiment and community which suggested parallels between the religious pilgrim and the secular film tourist. Both are on a meaningful journey to distant places and follow scripted guidelines while also creating their own experience. Embodiment played an important role. Furthermore, film tourists sought the community of other believers and were willing to 'follow in the footsteps' of film stars and crew when choosing which film locations and eateries to visit as they sought places that had attained an 'aura'.