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Should destinations rely on movies as a marketing tool for promotion?

Should destinations rely on movies as a marketing tool for promotion?
Author: Barbara Sowilarska
1 Commentries
Should destinations rely on movies as a marketing tool for promotion?


University: University of Wolverhampton

Abstract:

This paper discusses the arguments for and against using films as a marketing tool for the promotion of a destination. Authenticity issues are raised in terms of both the destination and the tourist.

Keywords:
Film induced tourism, authenticity,

Discussion Paper:

Should destinations rely on movies as a marketing tool for promotion?


The concept of film tourism has emerged as a major growth sector for research in tourism and it is widely recognised as a driver of tourism development for many destinations (Connell, 2012). Film tourism is often called movie-induced or film-induced tourism. It is further explained as an activity where an individual visit a particular site or attraction as a result of the destination being featured on television, video or the cinema screen (Hudson and Ritchie, 2006).Despite being a relatively niche element of tourism activity, through film tourism, destination marketing organisations (DMOs) are eager to capture additional promotion, visitor awareness and visitor numbers (Connell, 2012).

A study conducted by Oxford Economics (2010) on the impacts of film on the UK economy suggested that 40% of tourists were highly influenced by image of a destination portrayed in a particular film (Mintel, 2011). Furthermore, according to the study, Alnwick Castle has seen visitor numbers grow by 230% since it was first featured in the Harry Potter films. Furthermore, the UK Film Council asserts that 2006’s Pride and Prejudice boosted Chatsworth’s visitor numbers by 10% and Basildon Park’s by 75% (Mintel, 2011). According to Hudson et al, 2010, another study revealed, that after family, friends and the Internet, television shows and films were the next key influencer on the decision to travel to a particular country. Similarly, Carl et al, 2007 in Hudson et al, 2010, suggested that when watching a film, the audience is plunged into a world of fantasy and that film tourism is partly based on tourists’ demands to escape into this in-between world and experience the cultural landscapes portrayed in films.

The perceived portrait of a destination play an important role in influencing tourist decision-making process as the basis for tourists to make choice on the type of the destination they would like to visit. Film can induce viewers to travel by its physical properties, the scenery and landscape, and their associated themes or actors, all of which contribute to the overall aim of shaping audience’s feelings, emotion and attitudes towards places (Rewtrakunphaiboon, 2009). There are many examples of films that have substantially contributed to the development of a particular destinations. For example, bars, restaurants and shops featured in the American soap opera ‘’ Sex and the City’’ became must-see destinations for tourists visiting New York (Rewtrakunphaiboon, 2009).


Films are never made with the intention to promote a particular destination or to encourage to visit a specific place. However, the impact of film on tourist is quite significant. Promoting a particular destination may be more worthwhile when using films as the carrier of the most important information about the destination. Films usually reach a wider public than most tourism ads (Jacobs, 2013).

The benefits of film tourism are becoming increasingly apparent. Appealing to a wide and diverse markets, film tourism offers something for everyone, just like the films themselves. Tourism organisations increasingly use films as a marketing tool for promotion of their tourism offer. Movie scenes quite frequently feature in TV commercials appealing to a wide range of spectator demographics, beginning with Walt Disney movies through to the big names in the film industry (Hudson and Ritchie, 2006). Marketing opportunities arise when a film is premiered and distributed to a wide range of population. Also, additional businesses and services can be created through film tourism which, in turn, may extend the visitor season. Films work as virtual brochures and offer more subtle way of marketing compared to traditional promotional activities.

One of the major benefits of film tourism is its ability to generate economic benefits for local community. Film locations can be all-year, all-weather attractions which alleviates problems of seasonality in the tourism industry (Beeton, 2004, in Rewtrakunphaiboon, 2009). In 2012 Visit Britain has launched a marketing campaign picturing Great Britain as a home for the world’s most famous agent, James Bond. The film itself featured UK’s most popular sites such as Glencoe and Glen Etive in the Scottish Highlands (Johnson, 2012). A number of billboards declaring ‘’ Bond is GREAT Britain’’ aimed at reminding visitors from major inbound markets including Australia, BRAZIL, Germany and the US, that there is no better time to visit Britain and explore the home of the world’s most dashing secret agent (Modiano, 2012).

Beeton (2005 ) identified a number of benefits associated with film tourism including the introduction of organised tours, expansion of community festivals, new use of sites, memorabilia sales and the exposure received by the hotels and guest houses that were used as film locations. The Scottish Tourism Board (STB) recognised the promotional benefits of Hollywood movies such as Rob Roy and Braveheart, and capitalised on the images that were being presented to the world (Beeton, 2005).

The research conducted by Kim and Richardson, 2003, suggests, that the members of the audience who are exposed to the film have more favourable destination image towards destinations featured through films then those who are not exposed to films. However, the impact of film-induced tourism is not only positive. For example, crowding and environmental impact are probably the most undesirable impacts of film tourism. Other negative consequences could be exploitation of local population and increased prices (Nistoreanu and Tuclea, 2011). Beeton (2005) points out, that the research suggests that visitors are aware of the inauthenticity of film and accept that places may not be where or what they are depicted to be. For example, it was noted that visitors were coming to Scotland to visit places depicted in the movie Braveheart, even though most of it was filmed in Ireland (Beeton, 2005)


It is possible to conclude that the issue of whether destinations should replicate or maintain icons, sites, scenes or sets is dependent upon a number of factors, mainly the type of tourist, film and the character and type of location. Tourism is a very individual experience and what one film tourist may want may be different to what is wanted by the host community. Destinations will have different characteristics that will attract different types of tourists and while films may provide the justification for new opportunities, there needs to be a careful balance of management and awareness of the possibility of a short term tourism boost and film tourists providing a small niche market.


References:

Beeton, S. (2005) Film- induced tourism Channel View Publications: Clevedon

Hudson, S., Ritchie J.R. (2006) Promoting Destinations via Film Tourism: An Empirical Identification of Supporting Marketing Initiatives [online]. [Accessed 20 April 2014]. Available at:< http://jtr.sagepub.com.ezproxy.wlv.ac.uk/content/44/4/387.full.pdf+html>

Hudson, S., Wang, J., Gil, S. M. (2010) The Influence of a Film on Destination Image and the Desire to Travel: A Cross- Cultural Comparison 13 (177-190) International Journal of Tourism Research
Commentary on using films as a marketing tool for promoting destinations
Author: Hilma Koskinen
This paper is raising the current topic concerning film tourism and provides a broad look into the different aspects of the promotion and impacts of this type of niche tourism. It is essential that the paper has recognised the importance of films and TV shows as increasingly important tools on influencing people’s travel behaviour. It is an interesting topic that includes a lot of potential especially for Destination Marketing Organisations.

The transition from a fantasy world that is brought to the real world is an interesting phenomenon which is why it is good that tourism providers and promoters have made use of it. A film’s setting can be one of the most important things that create the film’s atmosphere and it is the one thing that tourists want to experience themselves. The psychological process of how films affect people’s minds and their feelings are good observations by the author which when even more examined could be used for promotion purposes.

Films are a good way to promote destinations since they are basically free marketing for tourism promoters and destination branding as they market themselves as well as the destination. For example, the marketing of the film Pride and Prejudice (2005) also helped the marketing of the Peak District as the two were shown together on every marketing channel (O’Connor et al, 2008). The good thing about them, as stated, is that they seem to provide a more realistic picture to a wider audience than for example tourism ads and brochures. The paper introduces good positive remarks for film promotion with economic benefits and the positive impacts on film destinations. Moreover, insightful negative aspects were recognised but there is still room to raise even more questions about the effects of commodification and authenticity in addition to environmental and social issues.

Overall, the paper is an informative text on the topic and show the author’s understanding about the issues raised. It does not come across very clearly whether films should be used as a marketing tool for promotion or not as there are not clear arguments for and against. It seems to focus on whether it is good for the destinations to have film-induced tourism. Connel (2012) argues that film-induced tourism is still considered to be niche tourism which is why it fits the strand strand but it can be questioned whether it will remain as such in the near future because of the way it is increasing. The paper clearly explains how films can affect tourists’ decision to choose certain destinations and the positive and negative outcomes that film-induced tourism can create. It is challenging to choose whether films are a good tool for destination promotion, as the author states, and that there are many factors to consider.


References:

Connel, J. (2012) Film Tourism: Evolution: Progress and Prospects. Tourism Management, 33, 1007-1029.

O’Connor et al. (2008) The Integration of Film-induced Tourism and Destination Branding in Yorkshire, UK. International Journal of Tourism Research, 10, 423-237.