Cultural tourism is a good way to promote and, consequently, safeguard the cultural heritage of sites. Film tourism is an increasingly demanded form of cultural tourism more focused on the fictional rather than on the authenticity of sites, depriving them from their true identity. This article is proposing a system of indicators of sustainable development in order to evaluate and guarantee long-term sustainability in those sites identified with traditional cultural heritage and where films have been shot. The Historic Centre of Peñíscola, which was declared a Historic-Artistic Site in 1972 and has become film scenery in numerous occasions, has been chosen to be evaluated. The union of a series of film sceneries obtained from the cinema productions that best match the local heritage, through the latter has resulted in a final cultural landscape where the degree of conciliation between them is high. Therefore, the welfare of the host society is in balance with the tourist demands, which makes the Historic Centre of Peñíscola an accurate study case that can contribute to improve a methodology we aim to extrapolate to other tourist destinations threatened by a new uncontrolled mass of tourist.

The main aim of the following process is to revitalize a landscape heritage that is of strong character but threatened by oblivion: the landscape of Tannat wine production and marketing, located on the banks of the Uruguay River in the late 19th century. This paper outlines a method to resignify aspects related to its memory. This article focuses on the links regarding the identification and assessment of the resources of the memory, which can be classified into two different areas: traces and narratives. The traces of a landscape represent the tangible settings, which evoke a collective memory. The narratives, which are part of its intangible heritage, are everyday stories that, recalled again and again, make us feel part of that landscape. The planned actions on the studied landscape include, on the one hand, the understanding and revaluation of the traces of memory, such as the Pascual Harriague Winery as a setting for collective memories. On the other hand, we agreed on narratives that give meaning and coherence to the former landscape in this social construct (in this case, the stories of the production and marketing of Tannat wine in Salto, at the end of the 19th century). All this with the purpose of reinforcing the evolutionary capitals of the citizenship identified with the landscape, reaffirming that social group's sense of identity (referential capital) and increasing their resilience or ability to assimilate changes, undertake and innovate. Having analysed the criteria and means to identify and assess the resources of memory, recovering a landscape should be understood as that which implies restoring its image (giving it continuity) and regenerating its social system (reactivating socioeconomic dynamics based on the feeling of belonging). None of these is possible without an adequate social participation, which is the engine of the sustainable, socioeconomic , local development of this type of landscape. A subjective, non-positivistic approach to the processes is required to achieve our objective: the recovery of the character of a landscape highly determined by socioeconomic interrelations.

Autores. Editado por la AEET. [Ecosistemas no se hace responsable del uso indebido de material sujeto a derecho de autor] Activación de los núcleos rurales a través del diálogo social para la gestión sostenible del paisaje en la Reserva de la Biosfera de Urdaibai (RBU)

Cultural tourism is a good way to promote and safeguard the cultural heritage of a place. Cultural tourism includes film tourism, which consists of those places where cinema and TV productions have been shot. This can contribute to valuing the local cultural heritage or, by contrast, to reifying it and, consequently, to the loss of its authentic and its identity. In the following article we propose a system of indicators of sustainable development in order to evaluate and guarantee long-term sustainability in those places identified with traditional cultural heritage and that have become film sceneries. Once the study cases have been identified, the cultural landscapes that are going to be evaluated will be defined. To do that, we will identify and select the film sceneries according to the degree of conciliation between these and cultural heritage. The impact on society of the cinema productions will also be taken into account. The union amongst the film sceneries through the local heritage (built heritage, landscape heritage, etc.) will result in one or several cultural landscapes where the balance between the welfare of the host society and the tourism demands will be evaluated. To put into practice the following methodology, the Historic Centre of Peñíscola has been chosen to be evaluated. This was declared a Historic-Artistic Site in 1972 and has a long history as film scenery, which has contributed to its valuation and has brought it closer to the audience.

In our southern European environment, planning continues to be addressed with 19th-century zoning instruments and defined policies. The growing reaction to the impositions of this territorial policy in local areas proposes a strong bottom-up, non-urbanism of the strategic and the punctual, whose results are beginning to be insufficient due to their limited continuity and difficult coordination. The work in network and with articulated and inter-connectable projects, is revealed, however, as a tool of utility not yet sufficiently tested. To overcome the barrier between what we define as "planning" or macroterritorial policy and "ordination" at a micro level, tools such as Landscape Action Plans (LAP) are proposed. The LAP is structured as a document that, starting from the micro analysis of all facets of the landscape (not only of how it is perceived, but also of its identity generating dimension, and even of its socioeconomic aspects), and listening to the demands of the citizens through social dialogue processes, raise a solution to shared problems in local or municipal areas. This solution must be defined not only formally, but applying the determinations emanated from the regional policy of Territorial Planning designed for larger areas. In the last six years, the design of LAP by our Constructed Heritage Research Group (GPAC) has yielded very interesting results in terms of coordinating municipal and regional policies, such as the Landscape Action Plans of Trapagaran (2016) and Ortuella (2018), among others. The planning of small, embraced landscapes, endowed with strong character, through Landscape Action Plans (LAP), could be an option to channel this desire for local planning into a network, which compensates or inspires a broader and more democratic territorial policy.