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The master thesis deals with new phenomenon in tourism film induced tourism. The main objective of the master thesis is to characterize film induced tourism which could be used as a tool to increase the attendance of the destination where the film was shot. Next main objective of the thesis is evaluation of film induced tourism in Europe, more precisely in Great Britain and Northern Ireland where the film induced tourism is at relatively advanced level. The master thesis is divided into the eight main chapters. The first part briefly defines term tourism, its importance and tips related to the place of realization. In the second chapter there is described management of destination, following with marketing direction in the fourth chapter. In the fifth part, there is definition of film-induced tourism, related history, supply, the opportunities of marketing promotion and typology of the film induced tourist. Next parts of thesis show significance and efficiency of film induced tourism, film induced tourism in Czech Republic and in the Europe where the main attention was focused on Great Britain and Northern Ireland. The last chapter refers to own research where the potential of film induced tourism was investigated by using quantitative and qualitative methods from respondents which were based in Czech Republic.

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'.

Film-induced tourism, or film tourism, is in a simplified sense the phenomenon that occurs when a person visits a place selected by inspiration from a film/TV series. A prerequisite for film tourism is that within a film/TV series, features appear that inspires the viewer to visit either recording locations or other places associated with the film/TV series. In the study of film tourism, destination image plays a central role, which can be explained as an individual's collection of expectations, ideas, feelings, and impressions that have been built up over time for a destination. This study aims to help fill a knowledge gap that includes studies of how films or TV series with negative/controversial content affect the viewer's perceptions and mental images of a destination image. More specifically, the study will focus on the TV series Peaky Blinders and Birmingham, England. Through the theory section, a theoretical framework is established in which, among other things, it is being described how previous research have focused on film tourism, destination image, motivation, and commitment. Furthermore, a conceptual model is created that clarifies the basis of our study and which also forms the cornerstone of the research design. The study includes a quantitative approach where three hypotheses are put and then tested against the data collection, which is gathered through a digital survey where the sample consists of Peaky Blinders fans. The results show the cognitive, affective, and conative image of Birmingham found by spectators of Peaky Blinders and explains how the commitment to the TV series affects these aspects. Conclusions are drawn by accepting the hypotheses, which is that the commitment to Peaky Blinders affects the cognitive, affective, and conative image of Birmingham. / Film-inducerad turism, eller filmturism, är i förenklad mening det fenomen som uppstår när en människa besöker en plats som valts ut genom inspiration från en film/TV-serie. En förutsättning för filmturism är att det inom en film/TV-serie framkommer särdrag som uppmanar åskådaren till att besöka antingen inspelningsplatser eller andra platser som förknippas med filmen/TV-serien. Inom studiet av filmturism spelar destinationsimage en central roll, vilket kan förklaras som en individs samling av förväntningar, idéer, känslor och intryck som har byggts upp med tiden för en destination. Denna studie ämnar bidra till att fylla en kunskapslucka vilken innefattar undersökningar av hur filmer eller TV-serier med en negativ/kontroversiell handling påverkar åskådarnas uppfattningar och mentala bilder av en destinations image. Mer specifikt kommer studien att fokusera på TV-serien Peaky Blinders och Birmingham, England. Genom teoriavsnittet etableras ett teoretiskt ramverk där det bland annat redogörs för hur tidigare forskning fokuserat på filmturism, destinationsimage, motivation samt engagemang. Vidare skapas en konceptuell modell som tydliggör grunden för vår studie och som även utgör grundstenen i utformandet av forskningsdesignen. Studien innefattar ett kvantitativt angreppssätt där tre hypoteser ställs för att sedan testas mot datainsamlingen, som sker genom en digital enkätundersökning där urvalet består av fans till Peaky Blinders. Resultaten visar den kognitiva, affektiva och konativa image av Birmingham som finns hos åskådare av Peaky Blinders samt redogör även för hur engagemanget för TV-serien påverkar dessa aspekter. Slutsatser dras genom ett accepterande av de ställda hypoteserna, vilket innebär att engagemanget för Peaky Blinders påverkar den kognitiva, affektiva samt konativa imagen av Birmingham. / <p>2020-06-08</p>