Film-Induced Tourism in the High Country: Recreation and Tourism Contest

Abstract

Political, economic, and social changes have increased the importance of tourism in diversifying and sustaining rural areas. This article examines the impact of film-induced tourism on recreational use of the South Island High Country, New Zealand. Changes to the High Country's economic and administrative environment, coupled with image presented and reinforced in the filmed media (prominently in The Lord of the Rings and The Lion, the Witch and the Wardrobe), has amplified landholders' opportunity to engage in tourism. However, the different (and to some degree incompatible) activity and user profiles of traditional recreationists and new tourists has implications for the High Country.

Planning for Film Tourism: Active Destination Image Management

“…With films' potential for personalisation and perceived credibility, the modified image is memorable, and retained much longer than advertisements (Riley and Van Doren, 1992;Macionis and Sparks, 2009). For destination managers, the perception that a film will modify the image is likely to be true (Croy and Walker, 2003;Hudson and Ritchie, 2006;Croy and Buchmann, 2009).…”

“…Most importantly for destination managers is the implication that film changes image of place, and can modify the availability and evaluation of a destination for discretionary travel. All the same, not all films have a dramatic effect, and the film might have a negative effect, further highlighting the need for a strategic approach (Barich and Kotler, 1991;Croy and Walker, 2003;Hudson and Ritchie, 2006;Croy and Buchmann, 2009). Destination managers need to know what potential visitors' destination images are, what will induce them to visit, and how aware, familiar and complex their image is (Barich and Kotler, 1991;Croy and Wheeler, 2007).…”

“…Additionally, it appears that destination managers have not exercised the positive influence that these feature films have on a destination and tourism to that location (Croy and Walker, 2003;Beeton, 2005Beeton, , 2006aBeeton, , 2006b). Furthermore, studies have acknowledged the potential for contests and negative impacts resulting from film production and film tourism (Beeton, 2005(Beeton, , 2006bCroy and Buchmann, 2009;O'Connor, Flanagan and Gilbert, 2009).…”

Management Challenges at Film-Induced Tourism Heritage Attractions

“…see Beeton, 2001Beeton, , 2005Beeton, , 2010Busby & Klug 2001;Buchmann, More & Fisher 2010;Connell, 2005Connell, , 2012Connell & Meyer, 2009;Croy & Buchmann, 2009;Hudson & Ritchie, 2006;Kim, 2012;Macionis, 2004;Macionis & Spark, 2009;Riley, Baker & Van Doren, 1998;Rittichainuwa & Rattanaphinanchai, 2015;Tooke & Baker, 1998;Carl Kindon & Smith, 2007;Couldry & McCarthy, 2004;Hao & Ryan, 2013;Jewell & McKinnon, 2008;Martin-Jones 2014;Zimmermann, 2007). Despite the richness of, and interest in, film-induced tourism from scholars approaching the topic through a variety of different (inter-)disciplinary lenses, a number of themes remain under-researched.…”

La creatividad en el sector turístico americano y europeo: Caso Croacia

“…Los turistas de cine generales y casuales son los más comunes, como lo mostraron Croy & Buchman (2009) al afirmar que un tercio de los turistas que participaron en visitas de «El Señor de los Anillos» nunca habían visto la saga, aunque pensaron que el recorrido fue interesante, ya que incluía visitas a los bellos paisajes de Nueva Zelanda, y porque habían recibido la recomendación de sus amigos. Esta premisa también fue apoyada por Rittichainuwat & Rattanaphinanchai (2015) cuando afirmaron que "el número de turistas de cine específico es marginal", según sus hallazgos cuantitativos de los turistas tailandeses que visitan Corea.…”