son & Ritchie, 2006a; Mordue,
2001; O’Neill et al., 2005; Riley et al., 1998; Tooke and Baker, 1996).
Much of this work relates to specific case studies.
2.3. Screen tourism, marketing and destination image formation
A number of studies highlight applied approaches to destination
marketing to induce economic benefits through film and TV
exposure (Hudson & Ritchie, 2006a, 2006b), revealed particularly
in the example of the New Zealand Government’s vigorous promotion
and development of Lord of the Rings themes and activities
(Carl, Kindon, & Smith, 2007; Jones & Smith, 2005; Tzanelli,
2004). Related to this strand is the idea of image formation and
propensity to visit through viewing places on-screen (Iwashita,
2006; Kim & Richardson, 2003; Larsen & George, 2006; Warnick
et al., 2005).
2.4. The characteristics and motivations of screen tourists
While a few studies focus on screen tourists, the area remains
substantially unexplored in the academic literature compared with
destination impact studies. Busby and Klug’s (2001) and Beeton’s
(2001) surveys derive the characteristics of screen tourists in two
screen destinations, while Macionis (2004), Singh and Best (2004),
Busby and O’Neill (2006) and Chan (2007) develop the field by
examining motivations.
2.5. The experiences of screen tourists
More recent studies by Kim et al. (2007) and Carl et al. (2007)
have examined tourist experiences, but this remains an emerging
area of work that would benefit from further empirical studies that
delineate, illustrate and evaluate the nature of screen tourism and
the implications for destinations. It is to this relatively uncharted
area that this paper is directed. It aims to progress understanding of
the appeal of screen tourism destinations, the experience of visiting,
the likelihood of return visits and the implications for tourism
destination marketing and management. Prior to discussion of
empirical work, a review of literature and applied research relating
to these subjects of enquiry is presented.
2.6. The tourism appeal of screen destinations
As much of the literature recognises, capitalising on the positive
impacts of screen tourism can assist in the strategic development
of tourism activity in destinations by supplementing
the product portfolio, increasing tourist awareness and appeal of
the destination, and in turn contributing to the viability of tourism,
a concept that has been recognised for some time (see Butler,
1990; Croy and Walker, 2003; Hornaday, 1994; Riley and Van
Doren, 1992) and well-established in research literature (see e.g.
Beeton, 2005; Mintel, 2003; OlsbergjSPI, 2007; Riley et al., 1998).
Film and TV scenes and images have the potential to endure for
many years, creating a powerful and alluring destination product
or experience (Morgan & Pritchard, 1998), although it is the interplay
of landscape qualities and icons, storylines and characters,
and the extent to which locations act as a significant feature in
filming that is likely to induce visits (Riley and Van Doren, 1992;
Riley et al., 1998). In this respect, screen-induced tourism is only
likely to follow where locations are effectively transcribed from
film to reality and where landscape, place and emotional associations
are strong (Escher and Zimmerman, 2001; OlsbergjSPI,
2007).The
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