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"Tourists Fiction."
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A wee homicide in the hotel
When Big Willie, the returning champion of the Scottish-themed games, is murdered during the Highland Festival, Peggy Winn, the owner of the ScotShop, decides to solve the crime with the help of her 14th-century ghostly companion, Dirk.
Book
Audiovisual fiction and tourism promotion: The impact of film and television on the image of tourist destinations and contributions from textual analysis
The first studies of film and television as inducers of tourism appeared in the 1990s. In light of the role these media play in tourist decisions, studies of the capacity of audiovisual fiction to project a unique image of tourist attractions and destinations or to influence audience perceptions of them are particularly important. However, ever since research of this kind began, it has suffered from significant theoretical and methodological shortcomings associated mainly with the lack of an interdisciplinary approach. Most of the research has been in the field of tourism and marketing studies, with only a limited number of contributions from film and television studies. The objective of this article is to offer a critical review of studies exploring the relationship between audiovisual fiction and tourist destination image. The aim is to identify their conceptual shortcomings and to point out possible solutions with reference to audiovisual textual theory and analysis. The article begins with the identification of the main areas studied in this research: the effect on the attributes of tourist destinations and on their overall image, stereotypes, and the capacity of audiovisual fiction to vest the locations where their stories are set with different connotations. This is followed by an analysis of studies that exhibit more of an interdisciplinary approach by combining audiovisual studies and tourism studies. The article then addresses the debate over the types of audiovisual productions that researchers argue have the greatest tourism-inducing capacity. Finally, the conclusions point out possible future lines of research based more on explanation than on description, recommending the systematic incorporation of textual analysis into research on film-induced tourism, and particularly on its impact on tourist destination image.
Journal Article
The worst kind of want
A trip to Italy reignites a woman's desires to disastrous effect in this dark ode to womanhood, death, and sex.
Book
Understanding Film Fan Tourism: An Inventory of 15 Years of Research
The first studies of film and television as inducers of tourism appeared in the 1990s. From the outset, research in this area has identified a diverse range of tourist profiles, highlighting the fact that audiovisual media fans constitute an important segment of the tourism market because fan consumers dedicate considerable amounts of time, money, and energy to pursuing their specific interest. As a result, academic researchers have developed a substantial body of knowledge in this field over a relatively short period. The objective of this article is to offer a critical review of studies that have enhanced our understanding of film fan tourists to identify critical gaps in knowledge and, consequently, propose new ways to fully integrate the fan perspective into studies of audiovisual fiction-induced tourism. To this end, all the articles dealing with this specific tourist profile indexed in Web of Science, Scopus, and Google Scholar (49) have been identified and analysed based on their year of publication, geographical location, type of audiovisual production studied, methodology adopted and composition of the sample, major research themes and main theoretical and/or practical contributions. This review of the literature on film fan tourists finds that our understanding of the specific characteristics of the profile and behaviour of this type of tourist is still limited. This is due to some extent on the lack of consensus on the definition of the concept of “fans”, which has led to the erroneous classification of tourists whose travel motivation has nothing to do with a film and/or television production—and who may not even be fans of that production—as film fan tourists. The recommendations of this review thus focus mainly on reaching a consensus on the definition of the concept and establishing a single set of selection criteria for future research
Journal Article
In the shadow of the sun
Twelve-year-old Mia is on a five-day tour of North Korea with her older brother, Simon, and their father, Mark, an food aide worker, but she is scared because her father keeps sneaking off at night, and terrified that her brother's sullen, rebellious behavior (which has absolutely nothing to do with the Koreans) is going to get them in trouble--and things get much worse when she is pulled into a deadly political game that seeks to expose North Korean atrocities, and her father is arrested.
Book
FILM TOURISM BETWEEN FICTION AND REALITY IN THE FIRST DECADE OF THE 21ST CENTURY
Film / movie-induced / motivated tourism refers to a form of travel in which tourists / visitors explore tourist destinations (e.g., locations, production studios) extremely popular due to their appearance in films / movies, TV series / shows, or videos. Celebrity status, entertainment industry growth, and international travel have caused the increase of film / movie-induced / motivated tourism. Films like Game of Thrones, Gladiator, Harry Potter, Indiana Jones, James Bond, The Lord of the Rings provide long-term revenues for destinations due to accommodation, food, giftshops, guided tours, new jobs, photo spots, etc., hence better jobs and living standards for the locals, as well as negative environmental and social impacts.
Journal Article
Tourist Destination Placement in Fiction Films: An Applied Research Proposal
The study here proposed draws on the concept of the so-called “film-induced tourism”, understood as a strategy for promoting tourist destinations in fiction films. This objective is pursued through the development of an analysis model that enables the identification of the unique features of the destination as a space where the events depicted in the films occur, their function and their relationship with other narrative variables. The model has been applied to a corpus of films that other researchers have identified as essential for the growth of tourism to the locations they present. The results suggest that the space needs to be referential, irrespective of whether the diegetic space is the same as the filming location, that its status should be closer to the character than to the setting, that its mise-en-scène should emphasize the interaction with other characters, or that it should be essential in events that shape the structure of the story. La investigación propuesta se inscribe dentro del denominado film induced tourism, entendido como una estrategia de promoción de los destinos turísticos en la ficción audiovisual. Para ello se ha desarrollado una plantilla de análisis que permite identificar las particularidades del destino, en tanto que espacio donde suceden los acontecimientos narrados en las películas, su función y su relación con otras variables narrativas. La plantilla se ha aplicado a un corpus de películas que otros investigadores han considerado esenciales en el incremento de los visitantes a los espacios que muestran. En los resultados puede apreciarse la importancia de que el espacio sea referencial, con independencia de si el de la diégesis y el del rodaje coinciden, que su estatuto esté más cercano al de personaje que al de ambiente, que su puesta en escena enfatice la interacción con otros personajes o que sea esencial en acontecimientos determinantes para la estructura de la historia.
Journal Article
A HOLIDAY BY THE SEA: IN SEARCH OF CAIR PARAVEL
There is no doubt that the geography of Northern Ireland influenced the landscape of C.S. Lewis's Narnia. It provided \"an endless source of imaginative inspiration [...] to help create the imaginary worlds of his supernatural fiction\" (Bresland, The Backward Glance 107). This is particularly true of Dunluce Castle, \"a likely source for Cair Paravel\". And yet, it is not just \"[a]mong the romantic ruins of Dunluce Castle [but also] the windswept beaches of the Causeway Coast, [that] we can detect something of the origins of Cair Paravel\" (Bresland, Northern Ireland 19). Only twenty-five miles from Ballycastle, Castlerock is located in County Londonderry, also on the Antrim Coast where the River Bann, Ireland's longest river, makes its entrance into the Atlantic Ocean on the eastern boundary of the community. Castlerock sits at the Western Gateway of the Causeway Coastal Route which hugs the northern Irish coastline from Belfast to Londonderry, Ireland's second largest city and the only completely walled city in Ireland.
Journal Article
Tourist destinations masked in the symbolic constructs of «Money Heist» (Netflix, 2017-2021)
The popular Spanish fiction series Money Heist has been seen in more than 190 countries and has won the International Emmy Award for Best Drama. In 41 episodes over five seasons, a group of thieves dressed in red overalls and concealing their faces behind Salvador Dalí masks break into the Royal Mint of Spain and the Bank of Spain with the intention of carrying out an ambitious heist at each location. There are almost no product placements of real-life tourist attractions in the narrative structure of the series. This article discusses whether certain symbolic constructs identified in Money Heist could act as tourism inducers in the same way as the placement of real-life locations, a practice explored extensively in recent research. This study finds a considerable increase in tourist numbers to the Royal Mint of Spain that coincided with a massive rise in searches on YouTube for identifying elements of the series and a significant correlation between those elements and Spanish tourist destinations on Instagram. It thus offers evidence of the presence of symbolic constructs that could serve as inducers of both domestic and international tourism to Madrid.
Journal Article