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\"This book examines science fiction's theoretical and ontological backgrounds and how science fiction applies to the future of tourism. Focusing on disruption, sustainability and technology, it brings a new theoretical paradigm to the study of tourism in a post COVID-19 world and can be used to explore, frame and even form the future of tourism\"-- Provided by publisher.

Institutions are investing increasing amounts of resources in the promotion of their regions through audiovisual fiction. At the same time, there has been increasing scholarly interest in the relationship between audiovisual fiction and tourism, and particularly the effect of that relationship on potential tourists. Despite the inherently interdisciplinary nature of this field of research, very little attention appears to be given to what media studies, and particularly audience studies, could contribute. The purpose of this article is to offer a critical review of the literature on film-induced tourism from the perspective of audience analysis. To this end, previous studies are categorised according to their objectives (e.g., to study the effect of films and series on destination image, travel motivations, experiences and intentions to visit, or tourist visits themselves), and an analysis is offered of their main findings and conclusions and of the use they make (if any) of audience analysis. The article then concludes with some proposals of ways to integrate audience analysis more fully into studies of film-induced tourism to support research in this field.

Michele helps three strangers find the beautiful Blue Grotto of Capri.

Las relaciones entre los medios de comunicación y el turismo pueden abordarse atendiendo a los medios como documentosy como agentes. Se exponen, desde la reflexión teórica sobre los medios de comunicación, algunos temas que pueden ayudara desarrollar la investigación sobre los efectos de la ficción audiovisual en las imágenes de los destinos, las motivaciones eintenciones de visita y las experiencias turísticas. El trabajo resume una parte de la aportación teórica de la investigacióndesarrollada en el marco del proyecto de investigación “Análisis cualitativo y cuantitativo de los factores de la ficciónaudiovisual que inducen el turismo, y de sus efectos en las audiencias y los potenciales turistas” (PID2020-112668GB-I00)

Introduction: The aim of this study is to analyze how Pedro Almodóvar's cinema influences the perceived image of Spain by French viewers, considering the content of his films, the diversity of audiences, and the level of engagement of the spectators. Methodology: Twenty in-depth interviews were conducted with French viewers who have a high knowledge of Almodóvar's cinema. The questions emerged from studies on narrative persuasion, audiovisual fiction tourism induced, and the image of tourist destinations. Results: Despite all the testimonies having extensive knowledge of Almodóvar's cinema, there are differences among types of viewers based on their familiarity with Spain, the level of consumption, and engagement. Discussion: The results are related to previous research findings on the effects of audiovisual fiction on destination images. A high degree of correspondence can be observed between the image projected by the films and the one perceived by the viewers, highlighting the importance of familiarity with the country, the relative influence of stereotypes projected in his cinema, and the inability to turn specific locations into icons. Conclusions: The study demonstrates an undeniable link between representation, audience type, reception, and the effect on the image. The high degree of coincidence between the image projected by Almodóvar's cinema and the one perceived by the viewers is related to their engagement with the films and their familiarity with Spain. Introducción: El objetivo de este estudio es analizar cómo el cine de Pedro Almodóvar influye en la imagen percibida de España por los espectadores franceses a partir de los contenidos de sus películas, la diversidad de las audiencias y el grado de implicación de los espectadores. Metodología: Se recurre a veinte entrevistas en profundidad a espectadores franceses con un conocimiento alto del cine de Almodóvar. Las preguntas surgen de los estudios sobre persuasión narrativa, turismo inducido por la ficción audiovisual e imagen de los destinos turísticos. Resultados: A pesar de que todos los testimonios tienen un amplio conocimiento del cine de Almodóvar, hay diferencias entre los tipos de espectadores en función de la familiaridad con España, el grado de consumo e implicación. Discusión: Relaciona los resultados con los hallazgos de la investigación previa sobre los efectos de la ficción audiovisual en la imagen de los destinos. Puede apreciarse un alto grado de correspondencia entre imagen proyectada por las películas y la percibida por los espectadores, la importancia de la familiaridad con el país, la relativa incidencia de los estereotipos proyectados por su cine o su incapacidad para convertir lugares concretos en iconos. Conclusiones: El estudio demuestra que hay un vínculo ineludible entre representación, tipo de audiencia, recepción y efecto en la imagen. El alto grado de coincidencia entre la imagen proyectada por el cine de Almodóvar y la percibida por los espectadores está relacionada con su implicación con las películas y su familiaridad con España.

In this essay, I examine the way in which Diana Abu-Jaber's novel, Crescent , presents an exoticised Arabic culture and the relationship of this to a post-9/11 American culture eclipsed by anxieties about terrorism. I am primarily concerned with the text’s representation of what I call “culinary tourism”—its characters’ attempts to access culture (and Arabic culture in particular)—through eating. Food becomes a vehicle through which the text critically explores the dialectics of a post-9/11 American exoticism: the fear of a vaguely defined Arabic or Islamic culture, on the one hand, and the potential for its strangeness to be seen as fascinating on the other. I argue that Crescent is a conflicted novel that presents an exoticised representation of culture through its depiction of food, and yet cannot seem to wholly abandon itself to its own systems of exoticism. On the one hand, as I discuss in the first half of this essay, the novel’s representations of food are a vehicle through which it critiques its characters’ engagement with stereotypes, a mode of cultural interaction which Homi Bhabha argues is always afflicted by anxiety. However, on the other hand, as I discuss in the second half of this essay, the florid language and imagery it uses in its representations of food reveal its reliance upon the same discourses of exoticism it critiques, and possession by the same kinds of anxieties about Arabic culture that afflict its characters.

Numerous studies have examined tourism fiction and films. However, few researchers have addressed spiritual tourism within these media. To address this gap, the present study examines the portrayal of spiritual tourism in Asian Fiction and Film, focused on Indonesia and Malaysia. Employing a qualitative approach, this research analyzed 11 works of fictions and 10 films from Indonesia and Malaysia. The findings indicate that: (1) Islamic themes predominantly shape the portrayal of spiritual tourism in both Indonesian and Malaysian fiction and films; (2) the prominence of Islamic themes reflects Islam’s status as the dominant religion in both countries; (3) spiritual tourism in these works is portrayed as a form of spiritual prestige among Muslims; and (4) promotional efforts for Indonesian and Malaysian tourism bolster the representation of spiritual tourism in fiction and film. This study contributes to the literature on tourism, fiction, film, and spiritual perspectives.