Journal articles on the topic 'Movie-induced tourism'

A phenomenon called film-induced tourism which lately been increasing the amount of visitor towards a destination that appear through a movie. Watching movie is an intangible visual experience, but it could be change into an actual experience by visiting the film locations. It will give tourist an involvement and recreate their own feeling by experiencing themselves into a destination. In this research, evaluate the correlation of film-induced tourism towards the effectiveness of promotional destination tool. By using a novel-based movie from Indonesia, ‘5 Cm’ movie and Ranu Kumbolo Lake, which is located in Mount Semeru in East Java, Indonesia; as the location which will be promoted as the result of watching ‘5 Cm’ movie. The research methods will be using quantitative data and also questionnaires as research techniques. This research shows a strong relationship between film-induced tourism and the effectiveness of promotional destination tool, which shown by Structural Equation Modeling (SEM).

This research is motivated by the considerable potential and market share of millennials as a tourism target market. The promotion strategy of a tourist destination is carried out through innovative media, one of which is through movie media or empirically known as the concept of Movie Induced Tourism. This research was conducted to determine the effect of movies on millennial tourist visits, applying descriptive quantitative research methods. Questionnaires were used as data collection techniques to obtain primary data and through journals and e-book to get secondary data. SEM-PLS has been applied to measure relationships between variables and research models. The results of this study are that movies attributes can have a significant positive effect on personal connections and AIDA Model.

ABSTRACTThe scarcity in natural resources encourage many countries move their focus to manage non-natural resources. Tourism sector is one of potential non-natural resource in Indonesia that needs to be maximized by appropriate media. The fact that number of tourists coming to Bangka Belitung increase until about 1.800% by “Laskar Pelangi” the movie is a good sign that movie can be a tourism branding media to increase desire of audiences to visit the place which is shown. This research examines how “Laskar Pelangi” as a movie-induced tourism can influence audience decision to visit Belitung Island using combination of quantitative and qualitative research. The result shows that Laskar Pelangi is a effective movie-induced tourism since it has both pull and push factors. Understanding this tourism strategy will allow nation to excel economy recovery in the future.Keywords: Movie, Tourism, Economics.

Purpose: This paper is anchored on the findings of a study that sought to assess the availability of interpretation media in movie induced tourism and its effect on tourists’ satisfaction in Kenya. Methodology: The study adopted explanatory and descriptive research designs. The study targeted 1,318 tourists from Karen Blixen Museum where the movie “Out of Africa” was filmed and Samburu County where the movie “The White Maasai” was filmed. In addition, a total of 658 bloggers airing their views on the filming locations were targeted. Simple random sampling and convenience sampling techniques were used to sample 345tourists and 221 bloggers, respectively. Structured closed-ended questionnaires were employed in collecting data. Main Findings: Findings from regression model showed that interpretation services had a positive and significant effect on tourists satisfaction (β = 0.647, p< 0.000).Based on the study findings and subsequent discussions, this paper concludes that the availability of interpretation media is effective in enhancing tourists’ understanding and appreciation of the destination being visited. Specifically, availability of guards in Karen Blixen Museum and Samburu and other interpretation media enhanced tourist experience and a majority were satisfied. Implications: The findings can be used to improve practice by encouraging tour guides to have a clear knowledge of a destination to be able to guide tourist and facilitate the offering of quality products. It is therefore important to have interpretation services since they contribute to tourist satisfaction. Novelty: The study contributes to the creation of additional knowledge to the field of movie-induced tourism thus enhancing the understanding of the nature and characteristics of movie-induced tourism.

The research study aims to examine the impact of movies on tourism among Egyptian youth by studying the different genres of movies and the different types and forms of tourism besides applying infotainment to discover the elements of information and entertainment in movies which encourage the youth to travel. A survey is conducted of a disproportionate stratified sample of 500 Egyptian university students divided equally between private and public universities and between males and females who have passion for traveling, travel at least once a year and are members of travel Facebook groups. The results show that Egyptian and non-Egyptian movies encourage Egyptian university students to travel abroad. The most popular types of movie-induced tourism among the youth are traveling to destinations portrayed in movies, organized tour of portrayed locations, tour of studio sets and movie-themed park. The findings indicate that movie- induced tourism is affected by movies' infotainment. Received: 22 July 2021 / Accepted: 28 September 2021 / Published: 5 September 2021

Over the past two decades, there has been growing research in film-induced tourism. Much of this research is focused on how film influences tourist destination choices. There has been less emphasis, however, on the nature and types of movies that may induce this attraction to such locations. By examining Kubo and the Two Strings (Knight, 2016), a stop-motion animation produced by Laika Studios, this paper aims to apply film studies to explore current understandings of film-induced tourism. This paper argues that Kubo is itself a form of film-induced tourism by positioning the viewer as a virtual cultural tourist whose cinematic experience may be likened to a veritable media pilgrimage through Japanese culture, history and aesthetics. The movie introduces the viewer into an imagined world that borrows from origami, Nō theatre, shamisen music, obon rituals and Japanese symbolism, philosophy and mythology. The resulting pastiche is a constructed diorama that is as transnational and postmodern as it is authentic and indigenous.

Film-induced tourism becomes a new emerging issue in tourism and scholarly research for the last 10 years. London’s “Harry Potter” series and New Zealand’s “Lord of the Rings” are among the best practices of the trend. On the other hand, Indonesia is a country with many beautiful places to visit by both local and international tourists. The number of visitors increases significantly every year. However, there is no contribution from film industry, both from local or international production, related to this increasing numbers of tourists, not before national movie production “Laskar Pelangi, 2008” (Rainbow Troops, 2008) by Riri Riza, and international box office movie production “Eat, Pray Love, 2010”. The study research will discuss about film induced tourism issues in Indonesia, particularly on why and how the two films--so far, until recently, only those two films--became phenomenon in film tourism--and why other films did not.

This study explores the underlying motivating factors of Emiratis and Indian expatriates to visit destinations featured in movies. The results revealed a five-factor structure for Indians: novelty, fantasy-driven, personal connection, prestige and movie connection, vis-à-vis a three-factor structure for Emiratis: novelty, fantasy-driven and personal connection with the movie location. An analyses of variance analysis (ANOVA) showed significant differences in the individual mean scores of items, with the exception of novelty. Regarding gender, while no significant differences were found between the male and female Indian expatriate populations across all factors and underlying items, differences for some items were observed between male and female Emiratis, with male participants demonstrating higher motivation than female participants. These findings support the notion that the underlying factors influencing movie-induced tourism differ between cultures, while the influence of gender was found to be limited. Overall, the study enhances the understanding of practitioners and policymakers tasked with attracting tourists to movie destinations.

Competence in “Cultural awareness and expressions” requires very stimulating activities for its development, and cinema can be used as an interesting enhancer of educational action. The educational potential of the so-called movie-induced tourism, which has increased in recent years thanks to the impact of major productions such as The Lord of the Rings, Star Wars or Game of Thrones, could bring extra motivation when developing any competency including the aforementioned one. This article aims to suggest some keys on film tourism as a didactic resource and how destinations might capitalize on it through entrepreneurship. In doing so, educational establishments located within film destinations can carry out projects in this sense to work on the competence of “Cultural awareness and expressions”. Thus, an example of didactic programming will be offered based on the creation of new tourist businesses to take advantage of Lord of the Rings saga filming in San Juan de Gaztelugatxe (Vizcaya, Basque Country, Spain).

It is widely believed that nothing unites India more than Cricket and Bollywood. Indian spending on foreign travel has increased to four fold as compared to that in the year 2000. While entire Europe and USA are still struggling to come out of recession, as per an estimate, Indian travellers are expected to grow to 50 million from 9 million. These statistics have enticed tourism boards across the world to find multiple avenues to have maximum share of this ever growing pie. Indian middle class is riding high on its growing affluence, and is exploring new locales and destinations to satisfy its craving for the distinct holiday experience. Indian outbound market is sending strong growth signals to the Tourism Boards and National Tourism Boards (NTBs) globally, who have been experimenting for novel ways to tap this market within their restricted resources. Recent studies by global researchers have established the positive influence of films, on people‟s travel decisions, especially to the respective locations and destinations featured on the silver screen. With its glossy and larger than life portrayal in the films, some of these destinations have successfully captured the imagination of movie goers and enticed them to visit the places where films are believed to be shot. Unlike the promotional films made for tourism boards, films are considered more authentic as coming from a third party, hence portrayed with a neutral approach. Through this paper, we have tried addressing the concerns in quantifying the impact of film-induced tourism. We have also covered the factors responsible for hindrance or limiting the impact on destination promotion, which was shown in the particular film.

The Hungarian capital city has been the protagonist or at least the supporting actress of numerous feature films; however, Budapest cannot be identified with a unique image to promote herself in film-induced tourism. The visual representations of the city's symbolic economy play an important role in the creation of place identity. The purpose of this study is to analyze the identity of Budapest and its cultural landscape depicted in international and Hungarian movie productions. The article highlights the consequences of this specific use of the urban place and how these images can influence Budapest's role in film tourism. In order to explore the potential of Budapest in the film tourism niche market, an analysis of tourists' perception of the capital city and tourists' attitude towards film-induced tourism was undertaken. The results of the visitor survey show that international tourists staying in Budapest would be interested to discover the film locations in the city; however, they were not able to link the titles of films set in Budapest to the real film location. Hosting international film productions clearly has a positive impact on the economy as a whole, but tourism destination marketing cannot benefit from the motion pictures' success when Budapest interprets somewhere else.

The audiovisual medium represents a tool that is able to influence the perception and the decision-making process of a large potential tourist demand. This can be commonly observed but is also confirmed, year by year, by a wide variety of empirical research studies worldwide. In some of them it emerged that the mere portrayal of a destination in an audiovisual production is not enough to reap the benefits of film-induced tourism. Tourism destinations need to work proactively to orient this phenomenon and to promote their territory and resources, among a whole and articulated destination strategy. In recent years, several tourism organizations worldwide recognized the opportunities associated with film tourism, but the lack of a clear strategy allowing the destination to benefit from such opportunities has often resulted in missing good chances. It is still unclear how much tourism development managers believe in the potential of audiovisual productions as a tool to be included in their destination management and marketing strategy. Furthermore, it is not clear whether such destination managers consider audiovisual and film productions among their tourism promotion tools at all. This article's aim is to shed light on this situation. In order to understand what is, or is not, happening, a significant and heterogeneous panel of 30 European tourism destinations has been surveyed with a quantitative research approach through a questionnaire-based web survey. It emerged that, as indicated by 100% of the respondents, European destination managers are aware of the relationship between film and tourism and mostly keen to work on it. But it is also possible to notice—among the results—that it seems movie-induced tourism is used just through sporadic attempts and therefore not approached in a strategic way. The survey explores both existing attitudes towards the phenomenon, and the commitment to develop it, using film in tourism communication strategies. The results of this article provide a new foundation for further research, as well as operative suggestions for worldwide tourism professionals committed to tourism development.

Poros Maritim Dunia sejak dicanangkan oleh Presiden Joko Widodo pada KTT Asia Timur 2015 di Myanmar menjadi nafas setiap kebijakan strategis di Indonesia. Salah satu pilar yang memiliki posisi penting adalah membangun kembali budaya maritim di Indonesia. Strategis dalam hal ini karena menyangkut kesadaran diri bangsa Indonesia atas karakternya sendiri. Secara khusus, dalam hal ini masyarakat pesisir memiliki kontak langsung dengan budaya maritim setiap hari. Melalui film, sebagai salah satu budaya populer; budaya maritim di Indonesia dapat lebih diidentifikasi dan dilakukan dengan pendekatan yang sarat dengan unsur hiburan. Penelitian ini bersifat kualitatif dengan sumber data dan literatur yang berkaitan dengan Poros Maritim Dunia dan pariwisata yang diinduksi film. Temuan menunjukkan bahwa ada contoh yang dapat di replikasi menjadi ide pemberdayaan masyarakat pesisir di daerah ataupun kawasan lain.

This paper aims to collect and study the various trends related to cultural consumption, more specifically behaviors reflecting in movie related consumption and choice (influencing both the habits of movie consumption and the related decision making). The paper summarizes and explores these trends from all major levels: the long term scaling ‘megatrends’ which appear on a global scale (and have major, interconnecting effects that may be perceived over a longer time period); the lower timescale, albeit more relevant ‘trends’ (which already stars to influence and merge into the everyday life of consumers) and their so-called ‘countertrends’ that might appear after reaching a certain threshold (along with certain previous trends’ reemergence), and the ‘latest trends’ where even yearly changes and shifts could be shaping the near future (even before affecting the majority of societies). The main purpose of the study is to systemize the literary sources and approaches to trends from the viewpoint of cultural consumption, through the format of literature study, with the focus point and relevance of this compilation being the movie- and movie related consumption. The paper is carried out under the logical structure of exploring trends and their realization in movie consumption, examining both the generally accepted megatrends (such as the effects of technological progress or the changing pace of life) and also such unique phenomena as movie related aspects of comfort orientation, experiences deemed evident by the consumers, movie induced tourism (due to the popularity of filming locations), or even trends related to movie genres and their popularity. Additionally, the study also seeks to find out how certain trends may elicit their own countertrends through strengthening to the point where the opposite effects start to emerge as well. The results of the study can be useful for marketers to have a better grasp on the movie industry trends and especially for researchers, as it provides an important opportunity to better understand movie consumption and behavior of audiences, which may follow larger overlapping trends.

The movie industry is a creative sector that has the potential to contribute to (regional) economic development. Understanding the role of different stakeholders in the different parts of the process of movie production is paramount to provide an overview of the aspects that underlie an interaction that leads to regional economic development. Therefore, this study aims at investigating to what extent the interaction of stakeholders in the movie industry contributes to fostering regional economic development. A qualitative approach based on the single case study of Rocco Schiavone, an Italian tv series set in the Aosta Valley was used. A total of 14 in-depth interviews were recorded among different stakeholders using a snowball sampling. and the results point out to different interactions and power relations between stakeholders. During the three phases of pre-production, production and post-production, stakeholders also experience tensions. The paper concludes by underlining that despite the mainly positive outcome in terms of benefits for stakeholders and consequent economic development in the region, there are also challenges regarding the precariousness of jobs in the sector and the development of film-induced tourism products.

El turismo cinematográfico o movie-induced tourism es un nuevo tipo de turismo surgido a finales del siglo XX que, en muy poco tiempo se ha convertido en todo un fenómeno a nivel mundial. Las Film Commission junto con las Destination Management Organization (DMO) cuentan con herramientas como las rutas cinematográficas y los movie maps para atraer al máximo número de turistas posibles antes, durante y después de que un rodaje se haya realizado en su territorio. El objetivo principal de esta investigación es conocer el grado de implicación y eficacia comunicacional interactiva que las DMO tienen con respecto a la promoción del turismo cinematográfico. El instrumento empleado para lograr el objetivo propuesto se basa en el estudio de las páginas web de las distintas DMO europeas seleccionadas, mediante la técnica de análisis de contenido, considerando las características de usabilidad, funcionalidad e interactividad. Los resultados indican que la mayoría de los sitios web analizados poseen una eficacia media o baja a la hora de transmitir una comunicación interactiva y un adecuado contenido de la información para el usuario, salvo Reino Unido, seguida de Suecia, Austria, España y Malta.

Film induced tourism is one of the fastest growing sectors in the tourism industry because cinematographic history is able to persuade the audience to travel to places that are used as the setting places of several scenes in a film. This study aims to examine the message of tourism promotion in a teenager romantic film set in Bandung, West Java, entitled ‘Dilan 1990’ which was adapted from a novel by Pidi Baiq of the same title. The data were collected by observing the film using observation tables, as well as audience reviews obtained through internet searches as a reference in interpreting symbols and knowing the audience's reception of this film. The audience’s reviews were taken from various websites including the Internet Movie Database, TripAdvisor, and from several independent travel blogs articles. The analysis used a qualitative descriptive method using three theories, namely, the theory of semiotics, reception, and promotion. The analysis shows that symbols of tourism promotion in the content of the film ‘Dilan 1990’ included the beautiful and clean city of Bandung, Bandung’s natural scenery, and Bandung’s heritage iconic buildings. The positive images of Bandung city were aesthetically presented on the film through well-structured of plot story, scene, and acting, thus make the promotion of Bandung become indirectly powerful. This study also stresses that the ‘Dilan 1990’ not only provide a powerful form of promotion for Bandung city but also has inspired the local government to build new city parks namely ‘Taman Dilan 1’ and ‘Taman Dilan 2’ that boosted the images of Bandung as an attractive city to visit.

Many films have raised the story of sports as the major story or as the background of a film. However, so far, no research has been obtained that analyzes the mapping of research results related to film and sports. Therefore, this study intends to examine various studies related to film and sports that global researchers have produced. This research uses the bibliometric method. The data source used is the Web of Science, while the tools used to process and display the data are ScientoPy and VosViewer. The results showed that the development of scientific publications starts 2000 to 2021 related to films and sports experienced fluctuating developments. Authors from America and England occupy the top positions for the number of publications. However, in the period 2020 and 2021, researchers from France and Canada are researchers who are more productive in publishing their scientific works. They included most published scientific works related to films and sports in the WoS version of the Social science category. However, Between 2020-2022, more are categorized into the subject of Communication and Film, Radio, & Television. Reference sources widely cited in scientific publications related to film and sports are books by Beeton with the title film-induced tourism (2005) and Crosson's work with the title sport and film (2013). The results of the keyword mapping show that six clusters represent some keywords used by the author in scientific works related to films and sports. In conclusion, sports and cinema research are fully developed in this research.

Movie induced tourism is significant for destination marketing. Although various studies have analyzed movie induced tourism in the past, none of the earlier studies have investigated the movie induced tourism for Bollywood movies. The present study fills the gap and examines the Movie induced tourism for Bollywood movies. The data has been collected for a total of 86 Bollywood movies, and the tourist location it promotes in the movie. The study further employs the event study methodology to understand the influence of the release of the movies on the number of tourists visiting the particular location. The results of the event study suggest that the tourism of a specific place is highly influenced by the movies and thus validated the Movie induced tourism for Bollywood movies. The findings of the study could be used to promote lesser-known regions by portraying them in Bollywood movies and then by subsequent promotions.

Since the development of film-induced tourism, scholars have increasingly shifted their attention to examining film-induced tourism from different perspectives. However, little research has been devoted to the underlying mechanisms by which audiences empathize with movie scenes. Current research believes that the lens language of movies is helpful for the communication between the movie and the audience. It not only helps the audience to shape the imagination of the movie scene, but also contributes to the construction of a virtual language landscape, and promotes the audience’s cognition of the movie scene. Bringing their emotions and self-expression into the story ultimately enhances the audience’s perception of where it was filmed. In exploring the framework of the transformation of empathy in lens language to landscape language, cultural differences are also proposed as the boundary conditions for the relationship between lens language and empathy. Structural equation modeling with PLS-SEM was employed to test the proposed hypotheses. The findings suggest that lens language positively predicts language landscape and empathy positively mediates the aforementioned relationship. Furthermore, the interaction term of cultural differences amplifies the relationship between lens language and empathy. Finally, we discuss theoretical and practical implications.

The digital revolution has been characterized by the overlapping of different media technologies and platforms which reshaped both traditional forms of audiovisual consumption and older conceptions of place and space. John Agnew claims that, traditionally, the notion of place has been associated with two different meanings: ‘the first is a geometric conception of place as a mere part of space and the second is a phenomenological understanding of a place as a distinctive coming together in space’ (317). Both of the dominant meanings have been challenged by the idea that the world itself is increasingly “placeless” as space-spanning connections and flows of information, things, and people undermine the rootedness of a wide range of processes anywhere in particular (Friedman). On the one hand, by obliterating physical distance, new technologies such as the Internet and the cell phone are making places obsolete, on the other hand, the proliferation of media representations favoured by these technologies are making places more relevant than ever. These increasing mediatisation processes, in fact, generate what Urry and Larsen call ‘imaginative geographies’, namely the conflation of representational spaces and physical spaces that substitute and enhance each other in contingent ways (116). The smartphone as a new hybrid media platform that combines different technological features such as digital screens, complex software applications, cameras, tools for online communication and GPS devices, has played a crucial role in the construction of new notions of place. This article examines a specific type of phone applications: mobile, digital mapping tools that allow users to identify film-locations. In doing so it will assess how new media platforms can potentially reconfigure notions of both media consumption, and (physical and imagined) mobility. Furthermore, the analysis of digital movie maps and their mediation of film locations will shed light on the way in which contemporary leisure activities reshape the cultural, social and geographic meaning of place. Digital, Mobile Movie MapsDigital movie maps can be defined as software applications, conceived for smart phones or other mobile devices, which enable users to identify the geographical position of film locations. These applications rely on geotagging which is the process of adding geospatial metadata (usually latitudinal and longitudinal coordinates) to texts or images. From this point of view these phone apps belong to a broader category of media that Tristan Thielmann calls geomedia: converging applications of interactive, digital, mapping tools and mobile and networked media technologies. According to Hjorth, recent studies on mobile media practices show a trend toward “re-enacting the importance of place and home as both a geo-imaginary and socio-cultural precept” (Hjorth 371). In 2008 Google announced that Google Maps and Google Earth will become the basic platform for any information search. Similarly, in 2010 Flickr started georeferencing their complete image stock (Thielmann 8). Based on these current developments media scholars such as Thielmann claim that geomedia will emerge in the future as one of the most pervasive forms of digital technology (8).In my research I identified 44 phone geomedia apps that offered content variously related to film locations. In every case the main functionality of the apps consisted in matching geographic data concerning the locations with visual and written information about the corresponding film production. ‘Scene Seekers’, the first app able to match the title of a film with the GPS map of its locations, was released in 2009. Gradually, subsequent film-location apps incorporated a number of other functions including:Trivia and background information about films and locationsSubmission forms which allow users to share information about their favourite film locatiosLocation photosLinks to film downloadFilm-themed itinerariesAudio guidesOnline discussion groupsCamera/video function which allow users to take photos of the locations and share them on social mediaFilm stills and film clipsAfter identifying the movie map apps, I focused on the examination of the secondary functions they offered and categorized the applications based on both their main purpose and their main target users (as explicitly described in the app store). Four different categories of smart phone applications emerged. Apps conceived for:Business (for location scouts and producers)Entertainment (for trivia and quiz buffs)Education (for students and film history lovers)Travel (for tourists)‘Screen New South Wales Film Location Scout’, an app designed for location scouts requiring location contact information across the state of New South Wales, is an example of the first category. The app provides lists, maps and images of locations used in films shot in the region as well as contact details for local government offices. Most of these types of apps are available for free download and are commissioned by local authorities in the hope of attracting major film productions, which in turn might bring social and economic benefits to the region.A small number of the apps examined target movie fans and quiz buffs. ‘James Bond and Friends’, for example, focuses on real life locations where spy/thriller movies have been shot in London. Interactive maps and photos of the locations show their geographical position. The app also offers a wealth of trivia on spy/thriller movies and tests users’ knowledge of James Bond films with quizzes about the locations. While some of these apps provide information on how to reach particular film locations, the emphasis is on trivia and quizzes rather than travel itself.Some of the apps are explicitly conceived for educational purposes and target film students, film scholars and users interested in the history of film more broadly. The Italian Ministry for Cultural Affairs, for example, developed a number of smartphone apps designed to promote knowledge about Italian Cinema. Each application focuses on one Italian city, and was designed for users wishing to acquire more information about the movie industry in that urban area. The ‘Cinema Roma’ app, for example, contains a selection of geo-referenced film sets from a number of famous films shot in Rome. The film spots are presented via a rich collection of historical images and texts from the Italian National Photographic Archive.Finally, the majority of the apps analysed (around 60%) explicitly targets tourists. One of the most popular film-tourist applications is the ‘British Film Locations’ app with over 100,000 downloads since its launch in 2011. ‘British Film Locations’ was commissioned by VisitBritain, the British tourism agency. Visit Britain has attempted to capitalize on tourists’ enthusiasm around film blockbusters since the early 2000s as their research indicated that 40% of potential visitors would be very likely to visit the place they had seen in films or on TV (VisitBritain). British Film Locations enables users to discover and photograph the most iconic British film locations in cinematic history. Film tourists can search by film title, each film is accompanied by a detailed synopsis and list of locations so users can plan an entire British film tour. The app also allows users to take photos of the location and automatically share them on social networks such as Facebook or Twitter.Movie Maps and Film-TourismAs already mentioned, the majority of the film-location phone apps are designed for travel purposes and include functionalities that cater for the needs of the so called ‘post-tourists’. Maxine Feifer employed this term to describe the new type of tourist arising out of the shift from mass to post-Fordist consumption. The post-tourist crosses physical and virtual boundaries and shifts between experiences of everyday life, either through the actual or the simulated mobility allowed by the omnipresence of signs and electronic images in the contemporary age (Leotta). According to Campbell the post-tourist constructs his or her own tourist experience and destination, combining these into a package of overlapping and disjunctive elements: the imagined (dreams and screen cultures), the real (actual travels and guides) and the virtual (myths and internet) (203). More recently a number of scholars (Guttentag, Huang et al., Neuhofer et al.) have engaged with the application and implications of virtual reality on the planning, management and marketing of post-tourist experiences. Film-induced tourism is an expression of post-tourism. Since the mid-1990s a growing number of scholars (Riley and Van Doren, Tooke and Baker, Hudson and Ritchie, Leotta) have engaged with the study of this phenomenon, which Sue Beeton defined as “visitation to sites where movies and TV programmes have been filmed as well as to tours to production studios, including film-related theme parks” (11). Tourists’ fascination with film sets and locations is a perfect example of Baudrillard’s theory of hyperreality. Such places are simulacra which embody the blurred boundaries between reality and representation in a world in which unmediated access to reality is impossible (Baudrillard).Some scholars have focused on the role of mediated discourse in preparing both the site and the traveller for the process of tourist consumption (Friedberg, Crouch et al.). In particular, John Urry highlights the interdependence between tourism and the media with the concept of the ‘tourist gaze’. Urry argues that the gaze dominates tourism, which is primarily concerned with the commodification of images and visual consumption. According to Urry, movies and television play a crucial role in shaping the tourist gaze as the tourist compares what is gazed at with the familiar image of the object of the gaze. The tourist tries to reproduce his or her own expectations, which have been “constructed and sustained through a variety of non-tourist practices, such as film, TV, literature, records, and videos” (Urry 3). The inclusion of the camera functionality in digital movie maps such as ‘British Film Locations’ fulfils the need to actually reproduce the film images that the tourist has seen at home.Film and MapsThe convergence between film and (virtual) travel is also apparent in the prominent role that cartography plays in movies. Films often allude to maps in their opening sequences to situate their stories in time and space. In turn, the presence of detailed geographical descriptions of space at the narrative level often contributes to establish a stronger connection between film and viewers (Conley). Tom Conley notes that a number of British novels and their cinematic adaptations including Tolkien’s The Lord of the Rings (LOTR) and Stevenson’s Treasure Island belong to the so called ‘cartographic fiction’ genre. In these stories, maps are deployed to undo the narrative thread and inspire alternative itineraries to the extent of legitimising an interactive relation between text and reader or viewer (Conley 225).The popularity of LOTR locations as film-tourist destinations within New Zealand may be, in part, explained by the prominence of maps as both aesthetic and narrative devices (Leotta). The authenticity of the LOTR geography (both the novel and the film trilogy) is reinforced, in fact, by the reoccurring presence of the map. Tolkien designed very detailed maps of Middle Earth that were usually published in the first pages of the books. These maps play a crucial role in the immersion into the imaginary geography of Middle Earth, which represents one of the most important pleasures of reading LOTR (Simmons). The map also features extensively in the cinematic versions of both LOTR and The Hobbit. The Fellowship of the Ring opens with several shots of a map of Middle Earth, anticipating the narrative of displacement that characterizes LOTR. Throughout the trilogy the physical dimensions of the protagonists’ journey are emphasized by the foregrounding of the landscape as a map.The prominence of maps and geographical exploration as a narrative trope in ‘cartographic fiction’ such as LOTR may be responsible for activating the ‘tourist imagination’ of film viewers (Crouch et al.). The ‘tourist imagination’ is a construct that explains the sense of global mobility engendered by the daily consumption of the media, as well as actual travel. As Crouch, Jackson and Thompson put it, “the activity of tourism itself makes sense only as an imaginative process which involves a certain comprehension of the world and enthuses a distinctive emotional engagement with it” (Crouch et al. 1).The use of movie maps, the quest for film locations in real life may reproduce some of the cognitive and emotional pleasures that were activated while watching the movie, particularly if maps, travel and geographic exploration are prominent narrative elements. Several scholars (Couldry, Hills, Beeton) consider film-induced tourism as a contemporary form of pilgrimage and movie maps are becoming an inextricable part of this media ritual. Hudson and Ritchie note that maps produced by local stakeholders to promote the locations of films such as Sideways and LOTR proved to be extremely popular among tourists (391-392). In their study about the impact of paper movie maps on tourist behaviour in the UK, O’Connor and Pratt found that movie maps are an essential component in the marketing mix of a film location. For example, the map of Pride and Prejudice Country developed by the Derbyshire and Lincolnshire tourist boards significantly helped converting potential visitors into tourists as almost two in five visitors stated it ‘definitely’ turned a possible visit into a certainty (O’Connor and Pratt).Media Consumption and PlaceDigital movie maps have the potential to further reconfigure traditional understandings of media consumption and place. According to Nana Verhoeff digital mapping tools encourage a performative cartographic practice in the sense that the dynamic map emerges and changes during the users’ journey. The various functionalities of digital movie maps favour the hybridization between film reception and space navigation as by clicking on the movie map the user could potentially watch a clip of the film, read about both the film and the location, produce his/her own images and comments of the location and share it with other fans online.Furthermore, digital movie maps facilitate and enhance what Nick Couldry, drawing upon Claude Levi Strauss, calls “parcelling out”: the marking out as significant of differences in ritual space (83). According to Couldry, media pilgrimages, the visitation of TV or film locations are rituals that are based from the outset on an act of comparison between the cinematic depiction of place and its physical counterpart. Digital movie maps have the potential to facilitate this comparison by immediately retrieving images of the location as portrayed in the film. Media locations are rife with the marking of differences between the media world and the real locations as according to Couldry some film tourists seek precisely these differences (83).The development of smart phone movie maps, may also contribute to redefine the notion of audiovisual consumption. According to Nanna Verhoeff, mobile screens of navigation fundamentally revise the spatial coordinates of previously dominant, fixed and distancing cinematic screens. One of the main differences between mobile digital screens and larger, cinematic screens is that rather than being surfaces of projection or transmission, they are interfaces of software applications that combine different technological properties of the hybrid screen device: a camera, an interface for online communication, a GPS device (Verhoeff). Because of these characteristics of hybridity and intimate closeness, mobile screens involve practices of mobile and haptic engagement that turn the classical screen as distanced window on the world, into an interactive, hybrid navigation device that repositions the viewer as central within the media world (Verhoeff).In their discussion of the relocation of cinema into the iPhone, Francesco Casetti and Sara Sampietro reached similar conclusions as they define the iPhone as both a visual device and an interactive interface that mobilizes the eye as well as the hand (Casetti and Sampietro 23). The iPhone constructs an ‘existential bubble’ in which the spectator can find refuge while remaining exposed to the surrounding environment. When the surrounding environment is the real life film location, the consumption or re-consumption of the film text allowed by the digital movie map is informed by multi-sensorial and cognitive stimuli that are drastically different from traditional viewing experiences.The increasing popularity of digital movie maps is a phenomenon that could be read in conjunction with the emergence of innovative locative media such as the Google glasses and other applications of Augmented Reality (A.R.). Current smart phones available in the market are already capable to support A.R. applications and it appears likely that this will become a standard feature of movie apps within the next few years (Sakr). Augmented reality refers to the use of data overlays on real-time camera view of a location which make possible to show virtual objects within their spatial context. The camera eye on the device registers physical objects on location, and transmits these images in real time on the screen. On-screen this image is combined with different layers of data: still image, text and moving image.In a film-tourism application of augmented reality tourists would be able to point their phone camera at the location. As the camera identifies the location images from the film will overlay the image of the ‘real location’. The user, therefore, will be able to simultaneously see and walk in both the real location and the virtual film set. The notion of A.R. is related to the haptic aspect of engagement which in turn brings together the doing, the seeing and the feeling (Verhoeff). In film theory the idea of the haptic has come to stand for an engaged look that involves, and is aware of, the body – primarily that of the viewer (Marx, Sobchack). The future convergence between cinematic and mobile technologies is likely to redefine both perspectives on haptic perception of cinema and theories of film spectatorship.The application of A.R. to digital, mobile maps of film-locations will, in part, fulfill the prophecies of René Barjavel. In 1944, before Bazin’s seminal essay on the myth of total cinema, French critic Barjavel, asserted in his book Le Cinema Total that the technological evolution of the cinematic apparatus will eventually result in the total enveloppement (envelopment or immersion) of the film-viewer. This enveloppement will be characterised by the multi-sensorial experience and the full interactivity of the spectator within the movie itself. More recently, Thielmann has claimed that geomedia such as movie maps constitute a first step toward the vision that one day it might be possible to establish 3-D spaces as a medial interface (Thielmann).Film-Tourism, Augmented Reality and digital movie maps will produce a complex immersive and inter-textual media system which is at odds with Walter Benjamin’s famous thesis on the loss of ‘aura’ in the age of mechanical reproduction (Benjamin), as one of the pleasures of film-tourism is precisely the interaction with the auratic place, the actual film location or movie set. According to Nick Couldry, film tourists are interested in the aura of the place and filming itself. The notion of aura is associated here with both the material history of the location and the authentic experience of it (104).Film locations, as mediated by digital movie maps, are places in which people have a complex sensorial, emotional, cognitive and imaginative involvement. The intricate process of remediation of the film-locations can be understood as a symptom of what Lash and Urry have called the ‘re-subjectification of space’ in which ‘locality’ is re-weighted with a more subjective and affective charge of place (56). According to Lash and Urry the aesthetic-expressive dimensions of the experience of place have become as important as the cognitive ones. By providing new layers of cultural meaning and alternative modes of affective engagement, digital movie maps will contribute to redefine both the notion of tourist destination and the construction of place identity. These processes can potentially be highly problematic as within this context the identity and meanings of place are shaped and controlled by the capital forces that finance and distribute the digital movie maps. Future critical investigations of digital cartography will need to address the way in which issues of power and control are deeply enmeshed within new tourist practices. 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Film tourism is quite a new concept, it is also referred to as film-induced or movie-induced tourism. It promotes the tourism advantage induced for any destination or country due to its exposure to public through the film media. This concept is at its nascent stage in the world. Many countries are found to work on this concept after realizing the benefits which can be reaped by their people, society and economy as a whole. Every theory, if advantageous, also tends to present some challenges. This mode of tourism promotion has its own benefits and challenges too for the administration, but, it depends on the government: local and central both, to make use of the concept in the manner befitting most for the locales and the economy. The international or worldwide famous films have been found to do wonders to the inflow of tourist for the country and shooting destinations in specific. Various governments have also started playing a significant role, and contributing by providing assistance to the film producers. In India we have had films promoting various destinations in the country itself through our own Bollywood, whereas some films under the international banner also have had some scenes or part of the film shot in the country. It would be of immense benefit to use this concept for the tourism industry of the country, but before that, it is essential to be prepared to deliver the required infrastructure and facilities. The study of this model is quite complex and requires an exhaustive research to understand the benefits (in exact measures) any country can reap for its economy. This paper aims to induce further research in the field and integrate the efforts and research in the field of tourism and management.