Film Tourism – Locations are the new Stars

Roland Conrady . Martin BuckEditors

Trends and Issues inGlobal Tourism 2009

ä springer

Editors

Professor Dr. Roland ConradyUniversity of Applied Sciences

WormsErenburger Str. 1967549 [email protected]

Dr. Martin BuckMesse Berlin GmbH, ITBMessedamm 2214055 [email protected]

ISBN 978-3- 540-92198-r

DOr 10. 1 007/97 8-3 -540-92199 -8

rssN 1868-0127

e-ISBN 97 8-3-540-92199-8

e-ISSN 1868-0135

Library of Congress Control Number: 2009922O89

@ Springer-Verlag Berlin Heidelberg 2009

This work is subject to copyright. All rights are reserved, whether the whole or part of the material is

concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting,

reproduction on microfilm or in any other way, and storage in data banks. Duplication of this publication

or parts thereof is permitted only under the provisions of the German Copyright Law of September 9,

1965, in its current version, and permission for use must always be obtained from Springer. Violations are

liable to prosecution under the German Copyright Law.

The use of general descriptive names, registered names, trademarks, etc. in this publication does not imply,

even in the absence of a specific statement, that such names are exempt from the relevant protective laws

and regulations and therefore free for general use.

Cover design: WMXDesign GmbH, Heidelberg

Printed on acid-free paper

9 8 7 6 5 4 3 2 1

springer.com

Preface

As other industries, the global travel and tourism industry has been facing immensechallenges and highly visible upheaval since the beginning of the new millennium.The Intemational Tornism Exchange ITB Berlin, the world's leading havel tradeshow, aims at pinpointing the most important challenges, identiSing the trends andoffering a platform to solve pressing problems. The ITB Convention Market Trends& Innovations has developed into a centre ofexcellence and a driving force for theglobal travel and tourism industry, generating a much needed information platform.

This compilation unites the highlights of the convention in articles prepared byrenowned professionals and scientists from the industry. Readers may benefitfrom this comprehensive vision of the developments Ihat Te shaping the structureof the global tourism industry today and in the future. This book is indispensablefor tourism and travel professionals as well as for academics and students analyz-ing current global tourism and travel trends.

The first chapter draws on current empirical data on travel behaviour of theworld population to establish a foundation for this book. The World TravelMonitor conducts more than I m interviews per year in over 50 countries andrepresents the world's largest and most important travel survey. Rolf Freitag andDennis Pyka provide insight concerning data ofglobal travel behaviour and traveltrends that are dominating the market. Philipp E. Boksberger, Kristian Sund andMarkus R. Schuckert focus on one of the most important and enduring trendtopics, the implications of socio-demographic change on the tourism branch. Thispaper discusses the possibilities and limits of today's tourism industry in regardsto predicting future travel behaviour based on socio-demographic changes. Basedon a written survey of German-speaking visitors at a destination in Switzerland,the results support the thesis ofcohort-specific travel behaviour.

The second chapter deals with an issue that like no other deserves the specialattention of the global travel and tourism industry: global climate change. FirstEric Heymann und Philipp Ehmer present the results of a study from DeutscheBank Research. The authors outline the ways in which the environmental-climaticand regulatory-market economy dimensions of climate change can affect thetourism industry. By using a scoring model, the authors differentiate tourist regionsthat can profit from climate change and those lhat are expected to be on the losingside. The forecast horizon of the Deutsche Bank Research investigation is 2030.Subsequently, Hansruedi Müller from the Research Institute for Leisure andTourism (FIF) of the University of Berne examines the effects of climate change

Preface

on Alps tourism. After presenting a detailed forecast of climate changes inSwitzerland, in Auskia and Germany, Müller analyses the opportunities and risks ofclimate change and provides recommended actions for handling climate change.Subsequently Christoph Kessler, Ralf Kadel und Laura Vogel grapple with anotherregion strongly affected by climate change: Africa. As a long-haul destination andas a region that is already very hot today, the challenges for Africa are enorrnous.Innovative zero footprint examples show how climate-neutral tourism could lookin Africa.

The third chapter is devoted to Aviation Management. Richard Klophaus ad-dresses a topic that has already led to a drastic situation for many airlines in 2008:extremely high fuel prices. His paper examines the impact of rising fuel prices onfuture air traffic. Using route and carrier specific data the short-term impact ofhigher fuel prices on airline operating costs, passenger fares and demand for short-haul and long-haul services is analysed. Patrick S. Merten considers the future ofpassenger processes at airports and sheds light on changes from the perspective ofpassengers, airlines and airports. Mobile tickets, check-in kiosks, web and mobilecheck-in, and electronic and mobile boarding passes optimise the traditional air-port process. Using information from expert and passenger suryeys, the article re-veals how a passenger process supported by technology could look at airports inthe future.

The fourth chapter addresses issues oftravel technology. It reflects the resultsoflatest studies on the usage ofconsumer technologies relevant to travel and tour-ism. The PhoCusWright Consumer Technology Survey Second Edition focuses onWeb 2.0 familiarity and usage patterns of U.S. travellers, on the online travellershopping behaviour and the influence ofconsumer technologies on travel, on socialmedia usage and influence. The usage of mobile devices is analysed as well.

The fifth chapter is devoted to the management of tourist destinations. In theirarticle, Campbell C. Thomson and Harald Jahn from the European Inveshlent Bank(EIB) analyse tourism strategies and policies in the southern and eastern countriesbordering the Mediterranean (the so-called FEMIP countries). The article reviewsthe current position of the tourism sector across the region, identifiing the strengthsand weaknesses of each country, and whether the strategies being followed arecompatible with the aoncept of Sustainable Tourism. Stefan Zimmeffnann and TonyReeves examine the potentials and methods of movie tourism as an innovative andeffective form for marketing of destinations.

The sixth chapter covers the topics of Marketing and Sales Management. MonikaEchtermeyer looks at the source market of China as an example to probe the im-portance of brands for destination decisions of tourists. It appears that to a greatextent Chinese tourists take their decisions depending on how far they encounterknown brands at European destinations. In her article Echtermeyer also offers rec-ommendations for management of destination and hotel brands catered to Chinesetourists. Klaus-Dieter Koch provides insight on the luxury market. He describeswhat opportunities the hxury market segment offers and how global luxury brandsin tourism should be managed. Michael Vogel looks into the strongly growing mar-

Preface VII

ket for cruises. He also analyses the international marketing strategies of the RoyalCaribbean and Camival cruise ship corporations.

The seventh chapter is directed towards Business Travel Management. AndreasWilbers starts off with the current developments in the business travel sector andthe resulting demands on Travel Management Companies. Jörg Martin tums his at-tention to the international aspects of Business Travel Management. Uwe Klapkainvestigates a particular aspect of intemationality: multicultrual interaction at meet-ings and events. Next, Andreas Krugmarur discusses the topic of safety when travel-ling. The results of an empirical study and the implications for Business TravelManagernent complete this article.

The eighth chapter offers a perspective beyond the borders of the tourism in-dustry. The cultural scientist Asfa-Wossen Asserate asks whether in view of newsource markets for international tourism a clash of cultures exists and what theimpacts would be. The philosopher Peter Sloterdijk rounds out the work with per-spectives on the present economic global tourist scene.

This work could not have been achieved without the remarkable dedication onbehalf of the authors, who for the most part have taken on executive positions inthe tourism eaonomy. Special thanks go to Pia Viehl from the Faculty of Tourismand Travel, University of Applied Sciences Worms. She tirelessly dedicated her-self with extraordinary commitment, remarkable skill and well-founded expertknowledge to ensure timely publication of the work. In the process she never lostsight of our high quality standards and was thereby instrumental in the success ofthe work. Without her contribution, this work would not be in your hands now.

Our thanks also go to the team of highly competent and reliable translators ofthe Mainz/Germersheim University led by H.-J. Bopst, including K. Kleist,C. Obermaier, V. Piaggio, L. Russell, K. Schrader, V. Srinivasan, K. Stellrecht,T. Volkmer, R. Walker and M. Zivcic.

Frankfürt/Berlin, December 2008 Roland ConradyUniversity of Applied Sciences Worms

Martin BuckMesse Berlin

Contents

Key Figures and Forecasfs in the Global Tourism lndustry

Global Tourism in 2008 and Beyond - World Travel Monitor'sBasic Figures.... . . . . . . . . . . . . . . .3

Rolf Freitag and Dennis Pyka

I Introduct ion.. . . . . . . . . . . . . . . . . . . , . . . , . . . . . . . . . . . . . . . .3

2 Overview of World Tourism in2007......... ..............3

3 Overview of European Tourism in2007......... .........9

4 German Travel & Tourism ...............17

5 European Travel Trends in 2008......... ...................20

Between Past, Present and Future - lmplications ofSocio-demographic Changes in Tourism ........29

Philipp E. Bolcsberger, Kristian J. Sund, and Markus R. Schuckert

Abstract ........29

1 Between Past. Present and Future... .......................29

2 Method.. . . . . . . . . . . . . . . . . . . . . . . .30

3 Results . . . . . . . . . . . . . . . . . . . . . . . . .31

4 Implications of Socio-demographic Changes in Tourism... ........34

References . . . . . . . . . . . . . . . . . . . . . . . . .35

Climate Change and lts Impacts on the Travel andTourism lndustry

Tourism 2030: Climate Change ls Re-charting the Map ofWorld Tourism.... . . . . . . . . . . .39

Eric Heymann and Philipp Ehmer

1 Tourism Industry Is Expanding in Turbulent Times........... ........39

Contents

2

J

Climatic Effects on Holiday Regions ...,........,.......41

Government Measures and Higher Energy Prices Hit the TourismIndustry. . . . . . . . . . . . . . . . . . . . . . . .43

Assessment of Individual Tourist Regions ............ 45

Repercussions on the Tourist Value Creation Chain ..................51

Conclusion: Winners and Losers from Climate Chanee..................................51

4

5

6

2030: Alps Tourism in the Face of Climate Change .....,.....51

Hansruedi Müller

Zero Footprint - A Viable Goncept for Climate-FriendlyTourism in Afr ica?.. . . . . . . . . . . . . . . . . . . . . . . . . . . .65

Ralph Kadel, Christoph Kessler, and Laura Vogel

1 Introduct ion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65

2 Footprint Analysis and Its Application in Tourism ....................65

3 Tourism Development and Climate Change in Africa.....................................61

4 The Potential of Compensation Payments .............71

5 Case Studies: Mozambique and Madagascar................ ..............13

6 Conc1usion.. . . . . . . . . . . . . . , . . . . . . . . . . . . . . . . . . . . . . . .76

Aviation Management

Kerosene's Price Impact on Air Travel Demand:A Cause-and-Effect Ghain... . . . . . . . . . . . .79

Richard Klophaus

Abstract ........19

1 Introduct ion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79

2 Peak Oil and Future Fuel Prices .......80

3 Economic Impact of Soaring Kerosene Prices........... ................. 83

4 Alternatives to Kerosene as Jet Fuel ............. .......89

5 Conclusions . . . . . . . . . . . . . . . . . . . . . . - . . . . . . . . . . . . . . .92

References.. . . . . . . . . . . . . . . . . . . . . . . .93

Contents XI

The Future of the Passenger Process..... ..........95

Patrick S. Merten

I In t roduct ion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ' . . . . . . .95

2 Deta i ls of the Studies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .95

3 The Future of Ticketing, Check-in and Boarding Passes....................................96

4 Technological Innovations at Borders and Security Checkpoints................'. 101

5 Summary . . . . . . . . . . . . . . . . . . . .104

6 Transcript of Statement by Martin Gaebges, General Secretary, Boardof Airline Representatives in Germany (BARIG)...... ..........'....105

7 Transcript of Statement by A.S. Viswanathan, Head of Transportation/Airports, Siemens IT Solutions and Services, Mumbai,/India.......................' 106

8 Transcript of Statement by Rainer Schwarz, Spokesman for theManaging Board, Berlin Airports................ ' .......107

Travel Technology

The PhoGusWright Consumer Technology Survey SecondEdi t ion . . . . . .113

Cathy Schetzina

I Familiarity and Usage Patterns .....'.1l3

2 Online Traveler Shopping Behavior ........ ' .......... ' 118

3 The Influence of Consumer Technology on Travel ..................12I

4 Social Media Usage, Influence and Marketing Preferences .....L25

5 Mobile Device Activities and Interest .................129

6 Methodology. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Destination Management

Developing Southern Mediterranean Tourism: The InterfaceBetween Strategy and Sustainability ..............137

Campbell C. Thomson and Harqld Jahn

I Introduct ion.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .137

2 CharacteristicsofTourismintheRegionandBeyond ...... '.. '...139

3 Tourism Trends in the Region ..'.....143

4 Sustainability Issues.... ....................147

Contents

5 Common Strategies..... .................... 149

6 Strategy: Sustainability Mapping...... ................... 149

7 Conclusions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Film Tourism - Locations Are the New Stars .......... ..........155

Stefan Zimmermenn and Tony Reeves

Marketing and Sares Management

Brands as Destinations - The New Tourism Objective forGhinese Tourists

Monika Echtermeyer

I European Destinations Competing with Symbols and Brands ...................'.. 165

2 The Prerequisites and Benefits of a Strong (Hotel) 8rand.......................... '.. 168

3 Prerequisites, Challenges and Benefits of a Strong Destination Brand....'.'..172

4 Cultural and Economic Reasons for Chinese Tourists' BrandConsumption ..............I15

5 Practical Examples ....176

References.. . . . . . . . . . . . . . . . . . . . . . 180

Luxury Tourism - Insights into an Underserved MarketSegment. . . . . . . . . . . . . . . . . . . . . . . . 183

Klaus-Dieter Koch

1 Brand Building in the Post Advertising Era .............. ............... 183

2 The Opportunities New Ltxury Offers for Brand Management inTourism... . . . . . . . . . . . . . . . . . . . 188

ls Europe One Market or Many? The US Gruise Gompanies'Segmentat ion Problem .. . . . . . . . . . . . . . . . .193

Michael Vogel

Abstract ......193

1 Introduct ion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

2 The Model . . . . . . . . . . . . . . . . .199

3 Back to Reality ........ '.208

References.. . . . . . . . . . . . . . . . . . . . . .210

Appendix. . . . . . . . . . . . . . . . . . . . . . ' . '2 l l

Contents XIII

Busrness Travel Management

Gurrent Developments an the Business Travel Sector........................J17

Andreas l4rilbers

1 Introduct ion.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .217

2 Developments in the Airline Industry....... ...........217

3 Corporate Social Responsibility .....218

4 Techno1ogy.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .220

5 Demands on Travel Management Companies .....224

6 Conc1usion.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .226

Welcome to Adventure Land ........229

Jörg Martin

Muf ticultural Interactions During Meeti ngs and Events .......................241

Uwe Klapka

Security on Bus:ness Trips - A New Task for Gorporate TravelManagement?.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .251

Andreas Krugmann

1 An Employer's Legal Obligation to Protect Employees. ..........251

2 Discrepancies Between Employees and Employers - How Do TravelManagers Assess Security on Business Trips? ....252

3 Discrepancies Between Employees and Employers - How Do BusinessTravellers Regard Their Own Security? ..............255

4 Consequences for Travel Management ................258

Beyond Tourism lndustry's Boundaries: ThePhilosophers' View on Sociological Mega Trends

The Gollision of Givilisations and Ghallenges for the GlobalTourist Industry..... ......263

Asfa-lVossen Asserate

Tractatus Phifosophico-Tourist icus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .271

Peter Sloterdiik

Authors

Asserate, Dr. Asfa-WossenNiedenau 7260325 Frankfurt a. M.Germany

Boksberger, Prof. Dr. Philipp E.Director ITFInstitute of Tourism and Leisure Research (ITF)University of Applied Sciences HTW ChurComercialstrasse 227000 ChurSwitzerlandphilipp.boksberger@ftr-htwchur. ch

Buck, Dr. MartinDirectorMesse Berlin GmbHCompetence Centre Travel & LogisticsMessedamm 2214055 [email protected]

Conrady, Prof. Dr. RolandUniversity of Applied Sciences WormsDepartrnent of Tourism and TravelErenburger Str. 1967549 [email protected]

XVI Authors

Echtermeyer, Prof. Dr. MonikaSpecialist for Outbound-Tourism ChinaInternational University of Applied Sciences Bad Honnef-BonnCampus Bad ReichenhallMülheimerstr.3853604 Bad [email protected]

Ehmer, PhilippEconomistDeutsche Bank AGDeutsche Bank ResearchTheodor-Heuss-Allee 7060486 Frankfint a. [email protected]

Freitag, RolfCEOIPK InternationalGottfr ied-Keller- Straße 2081245 MunichGermanyfr eitag@ipkinternational. com

Jahn, Dr. HaraldHead of Services, Agroindustry and SMEsProjects DepartmentEuropean Investment Bank100, boulevard Konrad Adenauer2950 [email protected]

Heymann, EricSenior EconomistDeutsche Bank AGDeutsche Bank ResearchTheodor-Heuss-Allee 7060486 Frankturt a. [email protected]

Authors XVII

Kadel, Dr. RalphSenior Project ManagerSub Sahara AfricaKfW Development BankPalmengartenstr. 5-960325 Frankfurt a. [email protected]

Kessler, Dr. ChristophDirectorKfW Development BankPalmengartenstr.5-960325 Frankfurt a. M.Germanychristoph.kes sler@kfw. de

Klapka, UweExecutive Director GermanyMeeting Professionals Intemational (MPI)Crellestr.2l10827 [email protected]

Klophaus, Prof. Dr. RichardCentre for Aviation Law and BusinessUniversity of Applied Sciences TrierPostfach 138055761 BirkenfeldGermanyklophaus@umwelt-campus. de

Koch, Klaus-DieterManaging DirectorBrand:Trust GmbHFindelgasse 1090402 [email protected]

Authors

Krugmann, AndreasManager Business Travel IndustrY

Mondial Assistance GrouP

ELVIA Reiseversicherungs-Gesellschaft AG

Ludmillastr.2681543 MunichGermanyandreas.krugmann@elvia'de

Martin, JörgManaging DirectorCTC CorPorate Travel Consulting

Hamsterweg 22b65307 Bad [email protected]

Merten, Patrick S.Aviation ResearchAuf dem Feldele 4a

79227 SchallstadtGermanYpatrick.merten@aviation-research'de

Müller, Prof. Dr. HansruediDirectorResearch Institute for Leisure and Tourism (FIF)

University BemSchanzeneckstrasse 1

3001BemSwitzerlandhansruedi.mueller@fi f.unibe' ch

Pyka, DennisIPK IntemationalGottfried-Keller-Straße 20

81245 MunichGermanYpyka@ipkinternational. com

Reeves, TonYThe Worldwide Guide to Movie Locations

4 Scholefield RoadLondonNl9 3EXUK

Authors XIX

Schetzina, CathyPhoCusWrightMarket Research - Industry IntelligenceI Route 37 East, Suite 200Sherman, CT 06784-1430USA

Schuckert, Dr. Markus R.Vice Director ITFInstitute of Tourism and Leisure Research (ITF)University of Applied Sciences HTW ChurComercialstrasse 227000 ChurSwitzerlandmarkus. [email protected]

Sloterdijk, Prof. Dr. PeterPhilosopher and President Karlsruhe School of DesignKarlsruhe School of DesisnLorenzstr. 1576135 [email protected]

Sund, Dr. Kristian J.Managing Director, Executive Master ProgramsCollege of Management of TechnologyEcole Polytechnique Federale de Lausanne (EPFL)BAC 001 (Bassenges)l0l5 LausanneSwitzerlandkristian. sund @epfl.ch

Thomson, Eur.Ing Campbell C.Advisor, Services, Agroindustry and SMEsProjects DepartmentEuropean Investment Bank100, boulevard Konrad Adenauer2950 [email protected]

Authors

Vogel, Prof. Dr. Michael P.Degree programme Cruise Industry ManagementInstitute for Maritime TourismUniversity of Applied Sciences BremerhavenAn der Karlstadt 827 568 [email protected]

Vogel, LauraSciences Po Paris27 rue Saint-Guillaume75337 Paris Cedex [email protected]

Wilbers, Prof. Dr. AndreasUniversity of Applied Sciences WormsDepartrnent of Tourism and TravelErenburger Str. 1967549 [email protected]

Zimmermann, Dr. StefanInstitute of GeographyJohannes Gutenberg-University Mlair:;P.O. Box55099MahlzGermanys. zimmermarm @geo.uni-mainz.de

Film Tourism - Locations Are the New Stars

Stefan Zimmernann and Tony Reeves

There once was a time when the actual altraclion of a movie lied in the capabilityof the celluloid to let the spectators escape from the everyday, a spare time toleave the life-world environment behind and live the life of a thrilling armchairtraveller. Foreign countries and remote regions could easily be mapped and visitedwithout travelling to the actual location. considering that "the modem world isvery much a 'seen' phenomenon" (Jenks 1995:2), one has to come to the assump-tion that present day travelling and watching movies are somehow connected.Tourism originally was perceived as visitors travelling, whether within their owncountry or internationally, for pleasure and relaxation. However, over the years,tourism has evolved into different components and labels.

Movies are an integralpart of popular culture and everyday routines and there-fore impact on many people. Today watching television is the most commonhome-based leisure activity (Busby and Klug 2001). one might assume that moreand more people try to find distraction not solemnly within the imaginary realmsof the movies - or in front of the TV set - but nowadays at the actual filming loca-tions. These locations function as a kind of "stargate" where the traveller can enterthe realm of his imaginations (Zimmernann 2003). The film location is thereforea perfect place to go to, a place where the cinematic narrative enters the life-worldand somehow materializes.

Travellers and travel companies have discovered the power of the visual whenit comes to market new needs and channel the tourist perception (urry 22002). wedo know that tourists tend to travel to destinations contrasting their everyday envi-ronments and it is known that contemporary tourists' images of places are shapedand held alive through consumption of film and rv productions without the per-ceived tendency of promotional material (schofield 1996). These environmentsand the additional imaginary often derive from TV and the cinema in a growingnumber of cases. The latter is not coming as a surprise, for the relationship of fic-tion and tourism is very well known and established (Ryan 1997).The media havebecome a major vehicle of awareness and style leadership in terms of communi-cating remote environments and spectacular sights (cf. coates l99l). Therefore itis obvious that film locations tend to hold an idle potential to market a place that isinvolved in shooting a movie or a TV show. Feature films can enhance awareness

1s6 Stefan Zimmermann and Tony Reeves

ofplaces, regions or even countries and affect decision-making processes. Due tothis fact tourism marketers are increasingly working with film producers to promotetheir destinations as film locations (Seaton and Hay 1998). As film and televisionconsumption continues to expand, one might assume that the overall influence ofvisual media on place images is growing as well (cf. Kim and Richardson 2003).

This comes along with the fact that tourism - like cinema or watching TV gainspan of its attraction from the beauty of the gaze. The spectacular sights tum intofascinating sites and vice versa again. cinematic narration and touristic stagingseem to merge at the most obvious level. Cinema becomes real to such an extentthat spectators gain the opportunity to enter parts of the precious imaginary. In thisway, film viewing itself may be understood as a form of tourism - a kind of im-mobile flänerie, which both reflects and constitutes a range of tourist practices."Places are chosen to be gazed upon because there is anticipation, especiallythrough daydreaming and fantasy, of intense pleasures, either on a different scaleor involving different senses from those customarily encountered. Such anticipa-tion is constructed and sustained through a variety ofnon-tourist practises, such asfilm, TV, literature, magazines, records and videos, which construct and reinforcethat gaze" (tlrry 22002:3). This gaze is constructed and maintained through signsand it is organized around these signs and symbols, indicating a specific contex-tual belonging. As Culler (1981:127) puts it: "Al1 over the world the unsung ar-mies of semioticians, the tourists, are fanning out in search of the signs of French-ness, typical Italian behaviour, exemplary oriental scenes, typical Americanthruways, traditional English pubs." Tourists and cinemagoers are pretty much thesame in that sense that they are looking for established features and already con-sumed bi ts and p ieces.

Conventional wisdom asserts that, to be popular as a visitor attraction, a loca-tion needs to invoke the 'feel-good' factor associated with romance or escapism,yet this does not necessarily seem to be the case. Burkittsville, the setting for TheBlair llitch Project, has seen an influx of visitors, and the Georgetown house inWashington DC which was the setting for The Exorcist, continues to be a majortourist attraction (Reeves 2001).

Perhaps the most surprising example of film-generated tourism is John Boor-man's 1974 f/rm Deliverance, in which a quaftet of city dwellers suffers a series ofhorrific ordeals in the backwaters of rural Georgia. Despite the grisly fate of thecharacters, the film sparked a boom in white-water rafting vacations on the chat-tooga River in Rabun County, where the hlm was shot. A much more important fac-tor than screen glamour seems to be a tangible sense of place. Take The Godfatherfor instance - one of the most popular films of all time, yet there's little in the wayof tourism associated with it. with its multiple settings, it's hard to think of onestriking location image; there is the Godfather mansion, which can be found onStaten Island, but it is not given any visual prominence in the film. Mention of TheExorcist, on the other hand, immediately conjures up the poster image of the FatherMerrin approaching the forbidding house, with the shaft of light streaming from the

Film Tourism - Locations Are the New Stars 157

upstairs window. This demonstrates that the power of constructed reality is likely todominate any sense of objective reality (Morgan and pritchard l99g) and that thevisual is only a vehicle to transport the narrative of a movie. Thirü- of Amelie and,,chances are, you'll remember Montmarhe's art deco cafe le Deux Moulins. Itdoesn't occupy much screen time in the film, but the stylised photography andheightened colour carry a visual impact that lingers in the mind. The sense of place,which is constructed by the film narrative, materializes in the visual image of thecafe le Deux Moulins and acts as a touristic stargate. Looking at this one might ar-gue that the specific content of the movie can affect the viewer,s image and percep-tion of a place porhayed in a film, using both: the visual and the narrative.

Film tourism or film-induced tourism marks a specific development within thefield of modern tourism. Media has taken an important role in promoting holidaydestinations these days. one might argue that today's travellers have already seenthe whole globe and that the urge to discover a thrilling and somehow new spot isone of tourist's major aims, but looking closer on tourism development it is farmore than that. Looking at tourism from a cinematic perspective there is no doubtthat for a destination "there s no finer publicity than that generated by a major mo-tion picture." (Riley and van Doren 1991: 267).The term film tourism usuallycharacterizes the effects of cinema and TV productions on travel habits and traveldecisions and is therefore a truly measurable media impact (Zimmermann 2003).It also describes every touristic activity concemed with visual mass media. Rileyet al. (1998) put it even simpler, they asset that people tum into movie-inducedtourists as soon as they are seeking for sights and sites on the silver-screen. cur-rent ways of consuming pictures and images are very close to the consumption ofplaces and landscapes. It appears that movie induced tourism helps to create a newkind of cultural landscape, a conception of landscape that goes beyond knownideas and concepts of history, culture and society. It could firther be perceivedthat movie tourism seems to be strongly connected to nostalgia and identity.

we know that feature films considerably shape people's behaviour and theireveryday perception of landscape (Escher and, zimmermatn 2001:22j), thereforewe can be sure that movies also have a profound influence on the perception ofplaces as well. When a movie or popular television series is filmed on-location inany real-life town or region, a growth of visitor numbers can be observed regularly(Riley 1994, Riley et al. 1998, Tooke and Baker 1996, Beeton 2001, Busby andKlug 2001). usually this is only a first step for further increase of touristic infra-structure (zimmermanrt 2003, Escher et al. 2008). we must not forget that moviesare usually not produced to visit locations, but the side effect is very well knownand sometimes used for marketing purposes (cf. Riley et al. l99g). To be precisethe last few years have shown an evident increase in the marketing of film loca-tions and some examples, as most of visit Britain's projects prove that marketingefforts can be done with the intent of profiting from movie induced tourism. Thelesson taught from this is very easy to understand: relationships between filmcommissions, tourist authorities, film productions and distribution companies

158 Stefan Zimmermann and Tony Reeves

should be established. Some places and destinations create organized trips fortourists to see the locations and take the form ofpaid tours, self-guided tours or bymeans of location maps as done by Visit Britain since 1996. More than 200 TVand movie locations throughout the UK have been highlighted in this vein (Hud-son and Ritchie 2006).

The biggest problem analyzing film tourism seems to be that there is not muchprofound research on economic gain and visitor numbers so far and neither on re-liable statistics. Many locations never counted visitors because they had neverbeen attractions before they gained new prominence through a movie (Riley et al.1998). Nevertheless the carried out research demonstrated that the use of film lo-cations as travel destinations has considerable value and it is profitable takingsteps to lure television and movie companies to a location on the first place andmake the best subsequent use of that production (Tooke and Baker 1996).

The extent of movie tourism, though, can be gauged when a location is specifi-cally constructed for a film, within three years of the release of Field of Dreams in1989, it is estimated that 60,000 people had made the trek to Dyersville, Iowa, tovisit the baseball diamond built on farmland for the production (Riley et al.1998:927).In fact, the Lansing farm became the state's top tourist athaction, andis still doing business today.

Anecdotal evidence, too, abounds. After the release of Gorillas In The Mist in1988 (and before the subsequent troubles), tourism to Rwanda increased by twentyper cent. When Steven Spielberg featured Devil's Tower National Monument inWyoming as the alien landing site for Close Encounters of the Third Kind, thenumber of visitors to the national park is claimed to have increased by three quar-ters. And, according to Ireland's Minister for Arts, Culture and Heritage, morethan one in six visitors to the Republic of Ireland in 1993 cited a reference to thefilm as their reason for visiting (Reeves 2001).

A widely-quoted example of success following a screen appearance is theCrown Hotel, Amersham, which featured in the hugely successful 1994 romanliccomedy Four Weddings and a Funeral (Riley et al. 1998). What makes this in-stance remarkable is that the Crown is never mentioned by name (in the film it'scalled 'The Jolly Boatman'), and another, more photogenic, inn was used for exte-rior shots. Nevertheless, fans of the film sought out the location and the suite usedfor filming became fully booked for several years.

Film induced tourism is of outst4nding interest in terms of economic develop-ment, as many of the more popular television and film sites can be found in smalland often rural communities, sometimes remote areas and therefore might be apossibility to create a unique selling point where without a film production noth-ing ever would happen. A lot of films are using tourist practises; the way in whichplaces are communicated follows the modes of everyday perception. The touristgaze is very important to transfer a narrative space into a tourist attraction. Itshapes the way in which a cinematic icon is transferred into a life-world place ofinterest. This process can sometimes be supported by the additional selling of

Film Tourism - Locations Are the New Stars 159

merchandise and memorabilia, functioning as signifier, helping to embed the loca-tion within the cinematic world, the tourist seeks to be part of. But still many filmlocations have not recognized the power of the movies and have missed to use thatpotential to promote them. The planning of such promotional activities mightcause severe problems and have to be planned carefully as Riley et al. (1998:931)argue. Especially when the location differs from the cinematic pattem and thetourist gaze is disturbed heavily. This might be caused by quickly built infrastruc-ture or the sale of cheap memorabilia (cf. Riley et al. 1998). Another problem canbe observed for example in Tunisia, where the missing careful treatment of theformer shooting sites of the Star wars movies can be a letdown for many tourists.Or a missing of adequate infrastructure in terms of required accessibility and mer-chandising opportunities. For good or bad, the interest generated by a film canprofoundly change the location itself. Largely unknown at the time of filming, thestriking limestone pillar of Khow-Ping-Kan in Phang Nga Bay, Thailand, used asthe villain's lair in The Man with The Golden Gun, is now not only a major touristdraw but is generally referred to as 'James Bond Island'.

Travellers might visit places that used to be movie locations in the past and stilloffer an intriguing connection to a specific film, a geffe or a TV show. This phe-nomenon often goes hand in hand with a good portion of nostalgia and can endureover a long period. These locations were often never brought to market as filminglocations and the cult about it usually derives from film buffs, tuming these placesinto an almost sacred place of pilgrimage. Some places offer the opportunity to at-tend the actual shooting and let the tourists be somehow part of the creation of amovie, especially small towns hosting a successful rv production seem to handlethis with ease and relaxed attitude.

While the stardom of Hollywood's early years focused on the actors, one caneasily see an evolving movement towards stardom of specific cinematic placesand landscapes. Ifthe actual location holds a highly recognizable and displayablefeature it often tums into a unique selling point and becomes a tourist athaction.This usually happens when the cinematic narration and the specific quality of thedepicted spot complement one another. Planning such a success is still one of thetrickiest bits, just as the planning of a block-buster movie. There is always thedanger of failing at the box-office and there are no guarantees that a film or a TV-production will have a strong influence on the spectators that they wish to visit theplace of cinematic origin. But different studies show that the impact of some filmsto their shooting locations can be tremendous but on the same time proof a meas-urable influence on these places on an economical, social or somehow culturallevel. In general, inhabitants oflocations tend to see the benefits a film productionmight bring to the place, as are short-term increase of employment and a gain ofpublicity (cf. Busby and Klug 2001).

In some ways, it's understandable that the phenomenon of movie tourism hastaken so long to develop. During the early years of the industry, technical limita-tions meant that films were photographed largely inside a studio. The viewer's ex-

L

160 Stefan Zimmermann and Tony Reeves

perience remained essentially theatrical as actors performed, as they always had,

in front of purpose-built - and obviously artificial - sets. To establish the locale, a

standard Hollywood practice was to employ a 'Second Unit'. For a film such as

Atl About Eve (1951), which was set in the theatre district of Manhattan, the main

cast filmed their scenes in the easily controlled environment of a Hollywood

soundstage, while a skeleton crew was despatched to New York to capture brief'newsreel-style' shots of East Coast exteriors.

There was, subsequently, little sense of a 'real' place to trigger the desire in the

viewer to visit the places where the action was supposed to take place.

From the late 1940s, developments in lighting, sound and camera technologygave a flexibility that catered to a demand for more realism in films. In 1949,

Carol Reed chose post-war Vienna as the backdrop to The Third Man, with strik-

ing results. Images of the city's squares, the Central Cemetery and - most of all -

the fenis wheel linger in the mind. The success of the film established an image of

Vienna, which we still hold and, as fans of the film began to follow the footsteps

of Harry Lime around ttre city, it proved to be one of the earliest examples of cin-

ema- generated tourism.When John Ford made the Oscar-winning How Green Was I[y Valley n 1941,

the South Wales locale was recreated entirely in Los Angeles, but eleven years

later, he chose to film his whimsical Irish comedy drama The Quiet Man on loca-

tion. Photographed in lush colour, the unmistakable sense of a real place again

provided an incentive for audiences to visit the quaint, romanticised 'Emerald isle'

they'd seen on screen. The village of Cong, in Connemara, where most of the film

was shot, experienced an inflrx of visitors, which continues to this day. Well over

half a cenhrry later, Cong's Quiet Man Hostel still shows the film nightly, and of-

fers guided tours of the locations.Artificial by their very nature, musicals remained one of the most set-bound of

genres, but in 1965, Robert Wise broke free of the confines of the studio to film

much of The Sound of Music in Salzburg. The results are legendary. Coach tours

continually ferry tourists from one familiar location to the next, and at least one

enterprising tour company has offered charter flights over the castles and lakes of

the opening aerial shots.At the time, though, these films were exceptional. They each commanded le-

gions of loyal devotees in an age when going to the cinema was still an 'eYent'

and only true fans saw a film more than once.The Seventies saw two developments that rendered the advent of movie tourism

inevitable: apart from cheaper and more accessible air travel, the decade heralded

the birth of home entertainment.Amassing a video/DVD collection has fundamentally changed our relationship

to cinema. Before the Seventies, a film would rarely be viewed more than twice

except by the most diehard of fans - onae on its initial release in the cinema and

again when it premiered on television. Now a collection of favourite films is the

norm for most people, and movies are played in the way cince reserved only for

160 Stefan Zimmetmann and Tony Reeves

perience remained essentially theatrical as actors perfotmed, as they always had,

in front of purpose-built - and obviously artificial - sets. To establish the locale, a

standard Hollywood practice was to employ a'second Unit'. For a film such as

Att About Eve (1951), which was set in the theatre district of Manhattan, the main

cast filmed their scenes in the easily controlled environment of a Hollywood

soundstage, while a skeleton crew was despatched to New York to capture brief'newsreel-style' shots of East Coast exteriors.

There was, subsequently, little sense of a 'real' place to trigger the desire in the

viewer to visit the places where the action was supposed to take place.

From the late 1940s, developments in lighting, sound and camera technology

gave a flexibility that catered to a demand for more realism in films. kr 1949,

Carol Reed chose post-war Vienna as the backdrop to The Third Man, with strik-

ing results. Images of the city's squares, the Central Cemetery and - most of all -

the ferris wheel linger in the mind. The success of the film established an image of

Vienna, which we still hold and, as fans of the film began to follow the footsteps

of Harry Lime around the city, it proved to be one of the earliest examples of cin-

ema-generated tourism.when John Ford made the oscar-winning How Green was My valley in 1941,

the South Wales locale was recreated entirely in Los Angeles, but eleven years

later, he chose to film his whimsical Irish comedy drama The Quiet Man on loca-

tion. Photographed in lush colour, the unmistakable sense of a real place again

provided an incentive for audiences to visit the quaint, romanticised oEmerald isle'

they'd Seen on screen. The village of Cong, in Connemara, where most of the film

was shot, experienced an influx of visitors, which continues to this day. Well over

half a century later, Cong's Quiet Man Hostel still shows the film nightly, and of-

fers guided tours ofthe locations.Arlificial by their very nature, musicals remained one of the most set-bound of

geffes, but in 1965, Robert Wise broke free of the confines of the studio to hlm

much of The Sound of Music in Salzburg. The results are legendary. Coach tours

continually ferry tourists from one familiar location to the next, and at least one

enterprising tour company has offered charter flights over the castles and lakes of

the opening aerial shots.At the time, though, these films were exceptional. They each commanded le-

gions of loyal devotees in an age when going to the cinema was still an 'event'

and only true fans saw a film more than once.

The Seventies saw two developments that rendered the advent of movie tourism

inevitable: apart from cheaper and more accessible air travel, the decade heralded

the birth of home entertainment.Amassing a video/DVD collection has fundamentally changed our relationship

to cinema. Before the Seventies, a film would rarely be viewed more than twice

except by the most diehard of fans - once on its initial release in the cinema and

again when it premiered on television. Now a collection of favourite films is the

norm for most people, and movies are played in the way once reserved only for

Film Tourism - Locations Are the New Stars 1 6 1

music, with films neatly divided into chapters, like album tracks, to which we canskip, and replay, favourite scenes. we are far more familiar with, intimately con-nected to, our favourite films than at any time in the past.

Busby and Klug (2001:329) explain tourism in an intriguing and holistic mat-ter: travel is therefore a complex, symbolic form of behaviour through which thetourist is usually striving to fulfiI multiple needs, leading to the fact that touristsare often unaware of the real reasons and motivations for their travel behaviour.Studies, as carried out by Escher et al. (200g) show that this behaviour often is theresult of cinematic adaption or even in a cinematic historiography, with the resultthat cinematic origins often cannot be seen by a not informed or only poorly in-formed recipient.

From the point of view of film tourism, a more problematic film is The Bournesupremacy. A huge international hit, the plot seemed to wander all around Europe,but most of the film was in fact shot in Berlin. There was little publicity surround-ing this, which raises interesting questions: would it actually have damaged thefeel of the film, knowing that the locations were not as far-ranging as they ap-peared? And would fans of the film be as interested in visiting locations passed offas'Munich', 'Moscow'or'Naples'

as fans of The Third Mqn are in visitins the'real'Vienna? -

what does that say for cities such as Toronto and vancouver - and lately pra-gue and Budapest - which are major filming centres but rarely appear as them-selves on-screen? Is it possible - or even desirable - to raise their profile? orwould a high profile merely encourage film-makers to move on to other, less rec-ognisable, locations?

This also raises the question: just what is it that tourists visit? When vacationersflocked to New zealand after seeing the Lord of the Rings trilogy, were they trav-elling to Middle Earth or New Zealand? were they Tolkien fans, wanting to fol-low in the footsteps of Bilbo and Gandalf, or winter sports enthusiasts heading forthe whakapapa Ski Field which they read had been used as a filming location?And did it matter? The Rings phenomenon seemed to blur the boundary betweenthe real and the fictitious. Entering the town of Matamata, which provided the roll-ing green hills of the Shires, visitors are greeted with a sign reading ,welcome toHobbiton'. This somehow confronts and complicates the oppositional dichotomyofauthenticity and artifice and its narrative ofconquest acceprance.

The present publications demonstrate that a movie location generally attractsvisitors (Riley et al. 1998, Busby and Klug 2001, zimmennann 2003, Beeton2005). conesponding to Kim and Richardson (2003: 232) there is some statisticalevidence that a popular motion picture significantly influences destination imagesand that an increase in popularity of cinematically depicted locations can be ob-served. Furthermore movies can be an effective tool to change place images andaffect the audiences' interest in visiting a specific destination (ibid.). According toReeves (2001) there is no doubt, that if you film a specific place, the tourists willcome to see the location and must be seen as a useful marketing tool for a singledestination, a community, a region or even a country.

t62 Stefan Zimmermarur and Tony Reeves

References

Beeton, S. (2005): Film-induced Tourism. Clevedon, Buffalo & Toronto.Busby, G. and J. Klug (2001): Movie-induced tourism: The challenge of measurement and

other issues. In: Joumal of Vacation Marketing. Vol. 7 (4): 316-332.Butler, R. W. (1990): The influence of the media in shaping international tourist pattems.

In: Tourism Recreation Research 1 5, (2): 46-53.Coates, J.F. (1991): Tourism and Environment: realities of the 1990's. In: World Travel

and Tourism Review: Indicators, Trends and Forecasts. Vol. I . 66-71 .Culler, J. (1981): The Pursuit ofSigns: Semiotics, Literature, Deconstructior. London.Escher, A., E. Riempp, and M. Wüst (2008): In the Footsteps of Jedi Knights and Sea Pi-

rates. Hollywood Movies and Tourism in Tunisia. Geographische Rundschau. Interna-tional Edition. 4, No. 3. 46-52.

Escher, A. and S. Zimmermann (2001): Geography meets Hollyrood - Die Rolle derLandschaft im Spielfilm. In: Geographische Zeitschrift 89 (4):227-236.

Hudson, S. and J.R.B. Ritchie (2006): Film tourism and destination marketing: The case ofCaptain Corelli's Mandolin. In: Joumal of Vacation Marketing, Vol. l2(3). 256-268.

Jenks, C. (1995): The centrality of the eye in Westem culture. In: (ibid.) (Ed.): Visual Cul-ture. London. 1-12.

Kim, H. and S. Richardson (2003): Motion Picture Impacts on Destination Images. In: An-nals ofTourism Research, Vol. 30 (l),216-237.

Meethan, K. (2001): Tourism in Global Society - Place, Culture, Consumption. - Hound-mills, Basingstoke.

Morgan, N. and A. Pritchard (1998): Tourism Promotion and Power: Creating Image, Cre-ating Identities. Chichester.

Reeves, T. (2001): The Worldwide Guide to Movie Locations. London.fuley, R., D. Baker and C. Van Doren (1998): Movie induced Tourism. In: Annals of Totn-

ism Research. Vol. 25 (4): 919-935.Ryan, C. (1997): The Tourist Experience. London.Schofield, P. (1996): Cinematographic Images of a City. In: Tourism Management 17 (3):

333-340.Seaton, A. and B. Hay (1998): The Marketing of Scotland as a Toursit destination, 1985-

1996. In: Maclellan, R. and R. Smith (eds.): Tourism in Scotland. London. 209-240.Tooke, N. and M. Baker (1996): Seeing is believing: the effect of film on visitor numbers

to screened locations. In: Tourism Management 17 (2):87-94.Urry, J. 12zoOZ1: The Tourist Gaze. London.Zimmermann, S. (2003): "Reisen in den Film" - Filmtourismus in Nordafrika. In: Egner,

H (eds.): Tourismus - Lösung oder Fluch?: Die Frage nach der nachhaltigen Entwick-lung peripherer Regionen. Mainz,75-83. (: Mainzer Kontaktstudium Geographie 9).

rseN 978 -3- 5 4o - 92t98 -r

llillil rl|] illl]ilil]tltlll