Chapter 8 The Future of Film Tourism
DOI: 10.23912/9781911635222-4751 | ISBN: 9781911635222 |
Published: October 2020 | Component type: chapter |
Published in: International Tourism Futures | Parent DOI: 10.23912/9781911635222-4383 |
Abstract
Film tourism refers to a post-modern experience at an attraction or destination which has been portrayed in ‘some form of media representation, such as the cinema screen, television or video’ (Kork, 2018: 5). Film-induced tourism occurs when a tourist visits ‘a destination or attraction as a result of the destination being featured on television, video, DVD or the cinema screen’ (Hudson and Ritchie, 2006: 256). Screen tourism, movie induced tourism and TV induced tourism are other terms commonly used in association with this type of special interest tourism (Riley et al., 1998; Connell, 2005; Connell and Meyer, 2009). Beeton (2005), categorises film-induced tourism based on where the tourism activities occur, namely ‘on-film’ and ‘off-film’ induced tourism. ‘On-film’ induced tourism refers to tourism resulting from where a part of a film is shot and shown on the screen, while ‘off-film’ induced tourism refers to events or artificial destinations actualised through the involvement in films (Beeton, 2005). Film-induced tourism falls under the umbrella of cultural tourism as it represents the cultural heritage of a destination and may be considered an expression of visual arts and local traditions (Gjorgievski and Trpkova, 2012), with Kim et al. (2007: 1351) suggesting it has ‘great potential to advance cultural exchange and understanding’. As an illustration of the size and extent of movies which are filmed away from traditional studios, the 11 Star War movies filmed between 1977 and 2019 utilised a number of location sites throughout the world, in addition to sound film studios in the United Kingdom (Elstree and Pinewood Studios) and Australia (Fox Studio). Locations included the countries of Tunisia, United Arab Emirates, Norway, England, Guatemala, Switzerland, Australia, Italy, Thailand, Spain, Ireland, Bolivia and the Maldives (Obias, 2018a). Only two USA locations were used for filming, both in California, however outside of the traditional Los Angeles and Hollywood sites. Similarly, many scenes in the six Mission Impossible movies spanning from 1996 to 2018 were filmed on location in various parts of the world, including Prague, Norway, Paris, London, Washington, Virginia, Sydney, Utah, Berlin, China, Vatican City, Morocco, Vienna, Kuala Lumpur, Budapest, Moscow Mumbai, Canada and Dubai (Looch, 2018; Obias 2018b). Table 8.1 shows a variety of on-film and off-film induced tourism.
Sample content
Contributors
- Clare Lade, La Trobe University (Author) https://orcid.org/0000-0001-8319-5146
- Paul Strickland, La Trobe University (Author) https://orcid.org/0000-0002-3298-3967
- Elspeth Frew, La Trobe University (Author) https://orcid.org/0000-0002-8231-7401
- Paul Willard, La Trobe University (Author) https://orcid.org/0000-0003-4472-7415
- Sandra Cherro Osorio, Melbourne Polytechnic (Author) https://orcid.org/0000-0001-9853-6441
- Swati Nagpal, La Trobe University (Author)
- Peter Vitartas, La Trobe University (Author) https://orcid.org/0000-0002-7498-1222
For the source title:
- Clare Lade, La Trobe University (Author) https://orcid.org/0000-0001-8319-5146
- Paul Strickland, La Trobe University (Author) https://orcid.org/0000-0002-3298-3967
- Elspeth Frew, La Trobe University (Author) https://orcid.org/0000-0002-8231-7401
- Paul Willard, La Trobe University (Author) https://orcid.org/0000-0003-4472-7415
- Sandra Cherro Osorio, Melbourne Polytechnic (Author) https://orcid.org/0000-0001-9853-6441
- Swati Nagpal, La Trobe University (Author)
- Peter Vitartas, La Trobe University (Author) https://orcid.org/0000-0002-7498-1222
Cite as
Lade, Strickland, Frew, Willard, Osorio, Nagpal & Vitartas, 2020
Lade, C., Strickland, P., Frew, E., Willard, P., Osorio, S.C., Nagpal, S. & Vitartas, P. (2020) "Chapter 8 The Future of Film Tourism" In: Lade, C., Strickland, P., Frew, E., Willard, P., Osorio, S.C., Nagpal, S. & Vitartas, P. (ed) . Oxford: Goodfellow Publishers http://dx.doi.org/10.23912/9781911635222-4751
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