Fan homecoming: analyzing the role of place in long-term fandom of<i>The Prisoner</i>

Waysdorf, Abby; Reijnders, Stijn

doi:10.1080/15405702.2018.1524146

Cited by 11 publications

(7 citation statements)

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“…Based on Couldry's concept of the "mediated centre" (2003), Peaslee reflects on filming locations that acquire "special" status through a process of mediation, suggesting that tourist visits to such locations constitute the materialisation of the centrality of the media in our society. On the other hand, Waysdorf and Reijnders (2019), also from the perspective of fan studies, take up the concept of "sense of place" proposed by Tuan (1977) and combine it with Seamon's notion of "place ballet" (1979) to describe familiar places. Based on repeated tourist experiences, these authors argue that fans can come to conceive of filming locations as familiar places.…”

Section: The Studies Bymentioning

confidence: 99%

“…Fans are no longer merely accumulating a lot of knowledge and information about the fan object but generating new content through a personal discovery or a specific experience with the story, such as seeking out and visiting locations associated with the production. This content-especially given the lack of official confirmations-and the commemorative activities organised by the fans themselves (Jang, 2020;Reijnders, 2019) become particularly valuable for tourism, and can even become pull factors for future film fan tourists.…”

Section: Okamotomentioning

confidence: 99%

“…77.8% of respondents who had travelled to the Isle of Mull in Scotland specifically to see the filming location of Balamory (CBeebies, 2002(CBeebies, -2005 said that a return visit was likely (Connell;Meyer, 2009) and the majority of respondents at the 2010 Mayberry Days Festival indicated that they planned to attend the 2011 edition (Benjamin et al, 2012). Among the fans of The Prisoner surveyed by Waysdorf and Reijnders (2019), the level of loyalty is extremely high; they have been visiting Portmeirion regularly for over 50 years, and meeting other fans is the main reason for returning. On the other hand, Bagnoli (2015) found that although respondents declared themselves to be satisfied with their visit, the majority stated that they would not visit the location a second time.…”

Section: Destination Loyaltymentioning

confidence: 99%

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Understanding Film Fan Tourism: An Inventory of 15 Years of Research

Beatriz Gómez-Morales,

Jorge Nieto-Ferrando,

Arturo Lozano-Aguilar

2024

EPI

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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

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Section: The Studies Bymentioning

confidence: 99%

Section: Okamotomentioning

confidence: 99%

Section: Destination Loyaltymentioning

confidence: 99%

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Understanding Film Fan Tourism: An Inventory of 15 Years of Research

Beatriz Gómez-Morales,

Jorge Nieto-Ferrando,

Arturo Lozano-Aguilar

2024

EPI

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“…Thus, they establish relationships with the object of consumption (Bodet, Kenyon, & Ferrand, 2018) and often become spokespeople or brand lovers to the brands consumed by them (Castellano, Pinho, & Noronha, 2018). In addition, they show strong desire to create and engage to the fandom (Castellano, Pinho, & Noronha, 2018;Cristofari & Guitton, 2017;Fuschillo, 2020;Waysdorf & Reijnders, 2019). This behavior is aligned with that of consumption tribes, which is based on rituals, traditions and moral responsibilities (Cova & Cova, 2012) and depicts fans as active consumers who produce and consume cultural products (Parker, 2019;Sugihartati, 2020).…”

Section: The Productive Consumption Of Pop Culturementioning

confidence: 99%

No shame to play: Ludic prosumption on Brazilian fanvideos

Leão

Moura

Nunes

et al. 2020

REGE

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PurposeFans are proactive consumers of pop culture products, who can be seen as prosumers. Fanvideo production is one of their most widespread practices in the participatory culture scenario. Thus, the aim of the present study is to analyze how ludic prosumption is featured on plays performed in Brazilian fanvideos based on successful pop culture franchises.Design/methodology/approachResearch based on the interpretive content analysis of fanvideos of plays produced by Brazilian fans based on five emblematic pop culture franchises and published on YouTube.FindingsResults have shown six play types in the analyzed fanvideos – i.e. child's play, performing powers, cosplay, play in social rites, teaching to play and “zuêra” –, which revealed a way of having fun in different situations through different practices based on ludic consumption experiences in different spheres of social life.Originality/valueCCT-based studies focused on investigating plays as ludic consumption phenomenon, as well as fan culture, remain at early research stage. Thus, the main contribution of the present study lies on associating such concepts based on the concept of prosumption.

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“…Still, due to lack of time, television and radio reporters are unable to provide sufficient background information. While television remains the leading sporting tool, daily sports sections in newspapers are also very popular, especially among the young audience (Steen, 2013;Carriedo et al, 2019).…”

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confidence: 99%

Olympic Games as a Digital Media Product

Yan

2020

MMI

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This paper studies the development of economic ties between professional sports and media in the past ten years by the example of the Olympic Games media coverage. The main purpose of the research is to identify the regularities that are formed in the communicative environment of elite sports. The paper is focused on the Olympic Games as the global sports events that include several types of sports competitions. The subject of the study is the sport as a product. The object of the study is the sport entertainment products in the media sphere. The relevance of the research is that the interconnections between sports and media expand and change rapidly and are influenced not only by the development of new technologies but also by a coronavirus situation. The systematization of literary sources on the selected matter indicated the need for further studies to reflect the rampant evolution of sports media and the lack of unified terminology for viewing professional sports through the prism of mass media as a media product. The methodology of the research is based on the analysis of open-source statistical data and a set of empirical materials (official websites of sports organizations, TV channels, and social media pages). The author viewed these materials from four perspectives: the audience, the marketing approach, the sports themselves as a source of information, the mainstream and the new media. The results allowed identifying the main trends of the information space formation around the object under study. These trends prove that the structure of the «Elite Sports» media product is becoming more complex, and the number of communicative links and broadcasting opportunities of sports events has increased. Finally, the author proposed a conceptual model of representing professional sports as a media product on the example of the major sports events, through defining its communication links. The findings of the research could be useful for setting vectors for studying mainstream and new media in the chosen area. The study can be of interest to sports journalists, bloggers, managers, and officials. Keywords audience, communication, content distribution, professional sports, sports event.

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Fan homecoming: analyzing the role of place in long-term fandom ofThe Prisoner

Cited by 11 publications

References 20 publications

Understanding Film Fan Tourism: An Inventory of 15 Years of Research

Understanding Film Fan Tourism: An Inventory of 15 Years of Research

No shame to play: Ludic prosumption on Brazilian fanvideos

Olympic Games as a Digital Media Product

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