Movie induced tourism

Film tourism – Evolution, progress and prospects

“…McKercher and Chan (2005) have the potential to create a legacy. Indeed, while film (specifically film rather than television) tourism activity tends to reach peak interest following the launch of a film, the enduring qualities of some film and television outputs often draw visitors for many years (Riley, Baker and van Doren 1998 Further to the festival concept, the notion of the creative city and the eventful city has given rise to film becoming a major facet of cultural tourism development in cities, imaging and city branding. The contribution of the film industry to creative industries is an increasingly visible part of the new cultural economy, and for those destinations pursuing regenerative schemes and tourism promotion through cultural strategies (see Richards and Wilson 2007).…”

“…Subsequent to these initial discussions, a small number of initial scoping and exploratory studies emerged, most significantly that of Riley and van Doren (1992), Tooke and Baker (1996) and Riley, Baker and van Doren (1998) the field for presenting too much case study material, the findings of which are not necessarily generalisable, transferable or applicable beyond those case study destinations, with some notable exceptions (Buchmann, Moore and Fisher 2010;Karpovich 2010;Kim 2012), few have grappled with the contributing conceptual frameworks to explore the intellectual underpinnings of the subject. In fact, no studies of film tourism have adopted a comparative research methodology as advocated in tourism research by Pearce (1993).…”

“…The interaction between landscape, iconic features, narratives and characters, and the extent to which locations act as a significant feature in filming are more likely to induce visits (Riley and van Doren 1992;Riley, Baker and van Doren 1998). Accordingly, film induced tourism is only likely to follow where locations are effectively transcribed from film to reality and where landscape, place and emotional associations are strong (Escher and Zimmerman 2001;Olsberg|SPI 2007).…”

“…Central to this strand is the principle of managing destination impacts to gain maximum economic benefit while minimising cultural and environmental damage, community disturbance, disruption of longer-term tourism products and markets, and resident wellbeing (see Beeton 2005Beeton , 2004Beeton , 2001Connell 2005aConnell , 2005bCroy and Walker 2003;Hudson and Ritchie 2006a;Mordue 2001Mordue , 1999O'Neill, Butts and Busby 2005;Riley, Baker and Van Doren 1998;Tooke and Baker 1996). A great deal of impact studies relate to specific case 28 studies and, while some findings have transferability, impacts tend to be framed within a destination context.…”

“…It is not the intention of this paper to cite the full range of examples and increases in tourism, suffice to say, examples of film tourism abound in the literature (see summaries by Tooke and Baker 1996;Riley, Baker and van Doren 1998;Hudson and Ritchie 2006a;Croy and Heitmann 2011) which collectively chart cases of film tourism through time), as well as in popular press and commissioned reports (see Grihault 2003Grihault , 2007Olsberg|SPI 2007). Yet, while there appears to be much support for the concept of the influence of film on tourism interest, there is some debate about the perceived and actual impact of film tourism and much still has to be learned about this phenomenon to gain the maximum benefits, create the most unique and satisfying visitor experiences and protect the communities and environments that it effects.…”