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Film and tourism: the imagined place and the place of the imagined
ez n Rafael Pires Basa
The Travellers Club, London, UK, and

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Hadyn Ingram
London School of Commerce, London, UK
Abstract
Purpose The purpose of this paper is to consider how lm can induce image, both individually and collectively. In particular, the psychological drivers of lm are explored and how these may impact on tourism visitation. The impacts of lm and cinema are explored, as is the relationship between tourists motivation and purchase behaviour. Design/methodology/approach The authors review the limited literature on the subject, seeking commonalities and resonances between lm and tourism. A focus group is used to develop a perceptual map with which to better understand the phenomenon and a questionnaire was conducted to research attitudes towards lm and propensity towards lm-induced behaviour. Findings The paper suggests that there are commonalities between lm and tourism and that lm can evoke powerful and long-lasting images with the viewer, thus creating marketing opportunities for destination marketing organisations (DMOs). Practical implications With greater understanding of the nature and power of lmic image, it is hoped that tourism DMOs may develop more effective strategies for attracting visitors to destinations. Originality/value Research in this topic is very limited and, as far as the authors are aware, there is nothing which adopts an in-depth approach on the nature and application of lm-induced tourism. Keywords Film, Tourism, Marketing, Consumer behaviour, Film-induced tourism, Destination marketing, Destination marketing organizations Paper type Research paper

Introduction Tourism behaviour is affected by myriad inuences, some of which are more obvious than others. Goeldner and Ritchie (2009) suggest that tourism is an interdisciplinary area that relates to sociology, leisure, sports, economy, technology and many others. This study aims at providing a further understanding of tourism and factors with which it maintains continually-enriching interactions, in this case, lm and cinema. In contemporary society, access to lms is becoming increasingly easier, either by going to the cinema, visiting a video-rental store, or even watching online. Cinema brings to people what they want in their lives: love, emotion, extravagance, adventure, seduction, even eroticism. It is possible to temporarily lose oneself for a few hours and to be drawn into a ctional story. As with tourism, people need to put aside their routines, at least for a period to allow them to relax and restructure (Krippendorf, 1987). It is possible to categorise lms that affect tourism into four types: (1) animated lms; (2) documentaries;

Worldwide Hospitality and Tourism Themes Vol. 5 No. 1, 2013 pp. 39-54 q Emerald Group Publishing Limited 1755-4217 DOI 10.1108/17554211311292439

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(3) motion-pictures made from original stories; and (4) lms that are based on novels, people or historical events. Each may have a different effect on the lm-induced tourist. Featherstone (2007, p. 22) posits that lm creates a pseudo reality which can be exploited by various media through advertising or promotional artices used in persuasion in order to inuence consumption of products, for instance holidays. Therefore, it is of vital importance to understand how images are imagined and of how places created by lms are perceived by the lm spectator (potential tourist), as the imagery tends to impact on the tourist decision making (Aziz and Zainol, 2011). This paper explores the relationship between lm and tourism and, in particular, how lm can induce positive and negative images of tourism and destinations. The structure is as follows: (1) Methodology. (2) Limitations. (3) Denitions. (4) Literature review. (5) Research ndings and analysis. (6) Summary of results. (7) Conclusions. (8) Recommendations. (9) Discussion. (10) Further research. 1. Methodology The study used sequential mixed methods approach (Morse and Niehaus, 2009) to provide an increasing depth of understanding to this under-researched phenomenon. Initially, a focus group provided an exploratory insight into attitudes and behaviours towards decision making, image perception and images created by lms and promotional tools used to induce tourism. The outcome of this focus group was a perceptual map aimed at increasing understanding of the phenomenon. Subsequently, a face-to-face survey questionnaire addressed the connection between lm spectator and destination shown on lm, the different motivations for lm tourism and the relation between the tourism cinema, image, motivation, decision-making and marketing communication tools. In this way, the methodology used causal research (Wilson, 2006) to provide inferential evidence and descriptive research (Veal, 2011) to develop further explanatory description of comparisons that the causal cannot answer. 2. Limitations Because this area of study is still in its infancy, there is not enough appropriate material to cast denitive light on the subject. However, this study collected information from many sources different in order to create an original, exploratory study of this phenomenon, but at the same time being careful not to postulate unrealistic theory.

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3. Denitions According to Beeton (2005, p. 11) lm-induced tourism can be dened as the visitation to sites where movies and TV programmes have been lmed as well as to tours to production studios, including lm-related theme parks. There is a considerable amount of dedicated study conrming that lms generate demand for tourism (Beeton, 2005; Jones and Smith, 2005; Boland and Williams, 2008; Tzanelli, 2007; Roesch, 2009; OConnor and Macionis, 2011; and Hudson et al., 2011) mostly mentioning the Lord of the Rings lm trilogy (2001-2003), lmed in New Zealand, and that still manages to attract visitors to the country. However no studies have focused on the psychological relationship between lm and its spectators and their motivations to travel, thus impacting on their decision-making. This work also aims at answering some of these unanswered questions. 4. Literature review The literature review is structured in the following way: . lm and cinema: provides the background to the medium; . lm and tourism: looks at the relationship between the two; and . tourism promotion through lm: considers how tourism might be marketed through lm. 4.1 Film and cinema ` re and Cle ment-Maurice in the last Film technology was developed by Antoine Lumie ` re brothers are decade of the nineteenth century. Gastal (1999) suggests that the Lumie considered the actual inventors of the cinema, since some of the other contender inventions did not have enough impact or inuence, or failed to excel. The audience for a movie can be analysed in many different ways, whether economic, statistical or sociological (Aumont et al., 1992). This study focuses on the relationship between the cinema-spectator as an individual and the lm as a psychological experience. Benjamin (in Jennings et al., 2008, p. 38) recognises that lm has a therapeutic power to militate against sadistic fantasies or masochistic delusions. Thanks to a wide range of genres (horror, adventure, romance) the spectator, through the protagonist, opens up to feel, to experience fear of death and destruction or love and admiration. nsterberg (1970) formulates the conception of cinema as a mental process, as the Mu art of the spirit, developing it in four steps of depth and movement, attention, memory and imagination and emotions. Although not real, these can powerfully affect emotions, perception and image. Films act as a mirror in which the viewer can identify with the actor(s) and this can stir the emotions and leave a lasting impression. This relates to tourism, in which there is also a withdrawal from the real world, and this is pleasurable and desirable to people. In summary, like tourism, lm offers occupies a space between dreams in reality in which the viewer (tourist) can experience in a state of momentary joy, which can affect perceptions and future behaviour. 4.2 Film and tourism According to Eisenstein (in Andrew, 2002) lm is not a product but a creative process organically unveiled and this can be compared to the spectator/tourist who participates

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in the lm/trip emotionally as well as intellectually. Therefore tourism may not be about selling a destination, but about the experience obtained from visiting it. It may be suggested that, both lm and tourism have several different interpretations. This is due to the complexity of life, where nothing is absolute and all is related to objects (Betton, 1987), where the spectator and the tourist draw their interpretations and feelings in whichever way they want from their cinematic experience. Theobald (2001, p. 15) suggests that the human being is essentially a nomad, travelling for purposes of trade, religious conviction, economic gain, war. As shown in Table I, the technological development of lm is linked to the wider participation in tourism through steam travel and the emergence of the package holiday. De La Torre Padilla (1994) denes tourism as a social phenomenon consisting of the voluntary and temporary displacement of individuals or group of people that, fundamentally, for the means of recreation, rest, health, or culture, leave their place of habitual residence to another, where they do not engage in any remunerated activity, thus generating important social, economic and cultural inter-relations. This displacement proposed by de la Torre Padilla can be either in the territory of the real as in the territory of the imaginary, as Urry (2002, p. 3) suggests, that tourism involves the collection of signs. When tourists see two people kissing in Paris what they capture in the gaze is timeless romantic Paris and this also happens in the movies. The same example can be applied to cinema, with the lm view replacing the tourist. Urry (2002, p. 14) argues that tourism necessarily involves daydreaming and anticipation of new or different experiences, and lms are a great source for new adventures to be experienced, not just in the visual world, but also on the real world. Further, Campbell (in Urry, 2002, p. 13) mentions that tourists do not seek satisfaction from products, from their actual selection, purchase and actual use. Rather the satisfaction stems from the anticipation, from imaginative pleasure seeking. Therefore, the spectator may like to experience these customs and symbols shown in lms and in real life, and this may involve travelling to these places. In summary, it can be concluded that, throughout history cinema and tourism are inter-related, each affecting the others development. 4.3 Tourism promotion through lm Cooper et al. (2008) propose that the psychological factors (attitudes, perceptions, motivation and image) that affect decision making are connected to consumer behaviour. Goffman (in Cooper et al., 2008) suggests that this happens because every person is different from the other, as well as actors on and off screen, stage, their performances vary according to the nature and context of the activity. Krippendorf (1987) argues that people live in a contradictory world where there is a need for balance to avoid stress, deprivation or illness. People seek to escape and to be taken out of themselves. Escapism can provide a sort of freedom from the humdrum and people need to ee to recompose, so that they can get back to their daily routine (Suvantola, 2002). Leisure activities, such as lm and tourism can have a therapeutic effect and are a source of potential pleasure. Krippendorf (1987, p. 25) regards tourism as a safety valve for letting off steam, a drug (as socially acceptable as aspirin) which temporarily kills the pain, but does nothing to cure the disease itself. Thus, tourism, like lm, is a sought-after-activity in modern society.

Demand for Inns and Lengthy educational hospitality taverns trips First travel guides Roman Circa 6th century Empire Renaissance 1650 1700s Magic lanterns part of museums programs Magic lantern Camera obscura

First family hotel in London Grand Tour

Steam transport origins Development of roads Invention Thomas Cook 1st excursion Invention of automobiles of planes Early Early 1800 Late 1800s 1900 Invention of cinema Travel lms

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Table I. History of tourism and cinema

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Roecklein (2004, pp. 2-3) places image in the discipline of psychology and denes it as mental idea that is taken as being observed by the eye of the mind. This study denes lm tourism image as the mental and visual idea that is originated from the collection of symbols, signs, beliefs, ideas and impressions that lms projects from places. Aumont (1997, p. 54) proposes three elements of image: (1) symbolic image: images as symbols, representing religious idols, brand logos or public images of attractions; (2) epistemic image: road maps, postcards, travel lms, portraits of landscape; they are all images providing different interpretations to the perceiver; and (3) aesthetic image: which produce sensations on the reader; for example the architecture of buildings, monuments, parks and piazzas. Castrogiovanni and Gastal (1999) contend that the creation of an image is the result of an interactive process between the observer and the observed. Although personally perceived, they suggest that there is a public image a trademark an image that is seen by everyone in the same way. These images are often packaged as consumer products or brands. This means that important tourist destinations, such as the statue of Christ the Redeemer in Rio de Janeiro, Big Ben in London or the Coliseum in Rome are depicted in t-shirts, postcards at souvenir shops or background scenes in lms. This non-verbal reading is a photographic reading, generated by the mass media and especially through the electronic media where speed dictates the pace of reading. Local images reproduced and transmitted in lms promote a blurring of borders between art and everyday life (Featherstone, 2007, p. 22), thus creating a pseudo reality. This pseudo reality created by the lms is exploited by various media through marketing and its promotional artices used in persuasion in order to inuence the consumption of products, for example, a holiday. Often, satisfaction arises from expectation of seeking a pleasure, which lies in imagination. People seek to experience real life pleasant dramas that have once already experienced in their imagination. Cinema has the power to store and transmit a large amount of information (McLuhan, 1964). This information, the stories, is lodged in human conscious, constructing an imagined repository of perceptions, which the English ction writer Julian Barnes calls a myth kitty. Avellar and Imagem (1982) argues that this information is retained in the mind for some unknown reason, a feeling that awakens in people, sometimes without being aware of it. Thus, inuencing peoples lives and the choices they make for themselves. Thus, the pseudo reality of lm can evoke powerful and lasting images. Ruschmann (2001) suggests that motion pictures are very important for the exposure of tourism products, because the image may lead to an interest in knowing personally what was seen on the screen. In summary, the literature concludes that there are similarities between lm and tourism, as both are: . developed and proliferated at the middle and end of the nineteenth century; . social phenomena, shared with others; . experiential;

. . . . .

powerful and long-lasting; desirable and sought-after; dream-like, taking the participant outside of themselves; opportunities for adventures and freedom from the quotidian humdrum; and able to create non-verbal images.

Film and tourism

The appropriate use of image and imagery is important in tourism promotion. According to Featherstone (2007) todays culture uses images, signs and symbolic goods to evoke dreams, wishes and fantasies that suggest authentic romance and emotional fullment of the self, in a narcissistic and egotistical way. People want to indulge their needs generated by the stress caused by the world, and that almost obliges the individual to be always happy and for this to happen, he or she has to consume.

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5. Research ndings and analysis This chapter presents the ndings from two sources: (1) a focus group of four attendees for which the aim was to develop a perceptual map of image, motivation and decision-making; and (2) a questionnaire of 200 respondents which provided quantitative data about the nature of cinema tourism and propensity to visit lmed destinations. 5.1 Focus group Although limited in participants, the in-depth discussions of the focus group were useful in exploring perceptions. The group felt that lm tourism is not the main reason people might go on holidays and visit places seen on lms. Nevertheless, lm can indeed create an initial desire of travelling to a destination; however, because people tend to watch lms quite often, they are overdosed with images of different places from many different parts of the world, thus making the choice more difcult. Cinephiles, or lm fanatics, are the most likely people to visit a place seen in a lm, without the need for further lm-induced promotional campaigns. Alternatively, people who only watch lms to escape boredom, recover from a stressful day, or simply for entertainment, might go on specic lm tours, such as Harry Potter or Sex in the City walks, while they are already at their holiday destinations. When asked about motivations to travel in general, the respondents of the focus group, agreed that to relax, rest, or break from work, and to explore other cultures are the main reasons for travelling. In summary, lm can induce tourism interest, but is this something that happens in the individuals subconscious, rather than causing the main reason to travel? Large cities commonly seen in lms are already major tourist destinations, however when people recognise lm locations in these places, they can get excited. The responses of the focus group helped to build on the literature and develop a perceptual map shown in Figure 1. Image is affected by motivation and decision-making by promotional tools. Image-motivation and decision-making-promotional tools are mapped in quadrants A, B, C and D.

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Figure 1. Perceptual map

.

. .

Quadrant A: the nature of image and how decision-making can be inuenced by scenery, culture and the destination. Quadrant B: how decision-making might be triggered by different leisure-orientated motivations. Quadrant C: types of promotional tools, which can evoke image. Quadrant D: ways in which promotional tools might engage with the viewer.

The perceptual map created can help DMOs to understand and identify some of the factors relevant to a successful development of lm tourism promotion strategies. 5.2 Questionnaire analysis The questionnaires explored the following issues: . frequency of lm watching; . importance of lm to tourism; . consumer behaviour intentions; . motivation to visit; . describing destinations; and . promotional tools. 5.2.1 Frequency of lm watching. Of the 200 people interviewed, only 7 (3.5 per cent) responded that they do not watch lms. As shown in Figure 2, the majority (36 per cent) of them watch lms more than once a week, while 20 per cent who watch lms once a month and 18 per cent watch ve times or more a month. 5.2.2 Importance of lms to tourism. Respondents were asked to respond to three statements:

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Figure 2. Frequency of watching lms

(1) lms are very important to the development of tourism; (2) towns, cities and rural places depicted in movies can be developed into tourist destinations more easily than those that are not; and (3) lm induces tourism through images that they depict of places. The majority of the respondents (over 100 people) simply agreed with the statements, as shown in Figure 3. The third statement is the one that raised mostly disagreements in comparison to the other statements; perhaps because the adverb very in the sentence seemed too strong, however, they agreed that lms indeed are important for the development of tourism.

Figure 3. Statement agreements

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5.2.3 Consumer behaviour intentions. As seen in Figure 4, 59 per cent of the respondents had not travelled to a place where it served as location for a lm. The data suggest that women would be more likely to visit a lmed location than men. However, on a research that was undertaken by Visit Britain (2007) (online), shows that 40 per cent of potential visitors would be very likely to visit places from lms. This research underpins other studies by VisitBritain by showing that 41 per cent of the respondents have already visited a location that served as lm location. Respondents were also asked which particular lm location they would most like to visit, and the most popular choices were New York and the USA. 5.2.4 Motivation to visit. Respondents were asked which of seven categories, most motivated them to visit a lmed destination. The results of this research on motivation underpins what has been highlighted by McLuhan (1964) that motion pictures are a great source of information, teaching people new customs, traditions and symbols. As shown in Figure 5, respondents want to experience the culture of those locations seen on lms, with culture being the main motivation factor chosen by respondents. This

Figure 4. Main lm locations to visit

Figure 5. Motivation for lm-induced travel

was followed by fun and entertainment, change of activity and geographical location and psychological and physical factors which complements each other; people seek evasion in order to recharge their batteries and give reason to their lives. 5.2.5 Describing destinations. Participants were asked to use adjectives to describe a destination for the most recent lm they had watched. The responses underpin the contention that the scenery is vital to the connection between the lm spectator and the decision to choose a destination to travel. When the respondents were asked to provide adjectives to describe the perceived image that they hold of a place seen in a lm, most adjectives provided are related to the natural beauty of the scenery, such as scenic, beautiful, nice, interesting, peaceful and relaxed. Historic and cultural adjectives can therefore be linked to cultural motivators. 5.2.6 Promotional tools. When asked about the importance of brochures, leaets and advertising in deciding on a holiday, 66 per cent of the respondents believed that they are important or very important. Figure 6 shows that a large majority of the respondents (80 per cent) did not remember seeing a lm-induced tourism promotional tool. The reasons for that could be that there are not many such promotional tools being made. Perhaps DMOs are not fully aware of the importance of lms in attracting tourists or maybe because the respondents were not looking for those sort of brochures or leaets. 6. Summary of results The data reinforce the view that watching lms is still a popular leisure activity, with high participation rates. Most respondents agree that lms are important to tourism and destination development. However, this image perception does not necessarily lead to visiting a lmed destination, with women more likely to do this than men. If they are motivated to visit a lmed destination, the most popular reason was because of the culture, and this suggests that is because of difference from their own environment. Respondents also liked scenery and it may be concluded that the beauty of landscape promotes positive image. A large majority of the sample believed that promotional tools are important, but did not remember seeing a lm-induced tourism promotional tool, perhaps because they were not actively looking for them.

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Figure 6. Promotional tools level of importance

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7. Conclusion This paper has explored the scantily-researched relationship between tourism and lm. The literature recognises that both lm and tourism share similarities of nature and are desirable, inspirational and powerful phenomena, which can create non-verbal images. Thus, imagery can in tourism promotion to evoke dreams and the emotional fullment of the self. The study has developed a perceptual map to show how image and motivation links with decision-making and promotional tools. The overwhelming majority (96.5 per cent) of the sampled population said that they watched lms. Most agreed that lms were very important to the development of tourism, however 59 per cent had not travelled to a lmed location. Scenery and landscape seem to evoke the most powerful images and two-thirds believed that promotional tools are important or very important. To experience new cultures was seen as the strongest motivation to travel. 8. Recommendations Gunn (1972) proposes a seven-step process of image involvement in tourism, which can be adapted to show the process of lm-induced tourism. As shown in Figure 7, lm induced tourism can follow these seven stages: (1) Accumulation: a watched lm creates images, which are compared with previous images of the same location. (2) Modication: the actors, landscape and the story can help the viewer to identify with the lm. (3) Decision: powerfully-perceived images, when triggered by need, money and time can tip the decision to travel to the lmed destination.

Figure 7. The process of lm-induced tourism

(4) Travel to destination: a time of excitement when the imagined dream becomes a reality. (5) Participation: enjoying the destination and the image is conrmed or disconrmed by the reality. (6) Return travel: the evaluation of the participation will be reected in level of satisfaction with the visit. Reviewing photos or watching the lm again will strengthen satisfaction and may lead to return visitation. (7) New accumulation: watching new lms will contribute to the viewers image store, thus triggering new possibilities for future visitation. Table II demonstrates how different promotional activities can be used at different stages of the lm-induced tourism image development framework.

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Promotional activity Advertisement

Description Television, radio magazines, newspapers, outdoors, cinema

Film-induced tourism image process Modication Decision Travel to attraction Participation Return New accumulation Modication Decision Modication Decision Travel to attraction Participation Return New accumulation Accumulation Modication New accumulation Accumulation Modication Decision New accumulation Participation Return New accumulation Modication Decision Travel to attraction Participation Return New accumulation

Brand communication process Awareness Comprehension Attitude Satisfaction Action Migration Awareness Comprehension Awareness Comprehension Attitude Satisfaction Action Migration Unawareness Awareness Migration Unawareness Awareness Comprehension Migration Satisfaction Action Migration Awareness Comprehension Attitude Satisfaction Action Migration

Exhibitions Sales literature

Film festivals, tourism exhibitions Brochures, leaets

Public relations

Propaganda, product placement Incentives to use destination as lm location, familiarisation trips Places used as lm location, airports, hotels, parks Social network, e-mail, website, mobile applications, online advertisement

Sales promotion

Point-of-sale displays and merchandising E-marketing

Table II. Promoting lm-induced tourism

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Each promotional tool can carry more than one type of message and the use of integrated marketing communications will allow building stronger brand equity (Keller et al., 2008). However, at any point the lm spectator can move from the accumulation stage to any other stage without the need of further promotional message, this is because, psychologically, individuals are different from each other. 9. Discussion It may be suggested that not all DMOs are fully aware of the importance of lms in increasing the trafc of visitors. As the study shows, scenery is the most important reason to visit a destination seen in a lm, and destinations should work in maintaining the natural beauty of those places by making important investment in planning and design, in order to maintain an attractive image, which is vital for the enticement of visitors. As suggested by Kotler et al. (1993, p. 37) a places image must be valid and communicated in many ways through several channels if it is to succeed and take root. Therefore it is of vital importance to understand how images and the imagined of places created by lms are perceived by the lm spectator (potential tourist) so DMOs can create appropriate promotion campaigns in order to attract visitors, as the imagery tends to impact on tourist decision-making (Aziz and Zainol, 2011). Promotional tools such as advertisements, leaets and brochures are important for the tourist, they are therefore, also vital for promoting lm tourism, in order to promote destinations as lm sets. If DMOs knew how to work with the resources generated by lms, they could create better strategies for attracting visitors to their cities. However, this strategy should also consider social and economic sustainability, in order to provide better conditions for the tourist, as well as for the local population. Advertisements of all types may be said to be like lms, in that they convey a photographic image and are aimed at generating desire for consumption. Perhaps lm-induced adverts should try and capture images of scenery, lm plot, actors, and address escapism and culture, in which the potential tourist is a valued and welcome visitor. It is a difcult, but important task to try and capture images and the imagined in lm, but the study shows that lm is and enduringly popular activity. Film can create strong mental images and has the power to turn powerful pseudo-realities into actual realities: to make dreams come true. 10. Further research As there is little previous research in this eld, this study has been an exploratory one. Future research might categorise and further investigate lm-induced tourism in the following way: . animation; . documentaries; . original ctional motion-pictures; and . lms based on a novel, person or historical events. Methodologies might include in-depth interviews, increased numbers of questionnaire respondents, more focus groups and visual analysis. These could improve the understanding of the lm-induced tourism phenomenon explored in this paper.

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References o, Jorge Zahar, Rio de Andrew, J.D. (2002), As Principais Teorias Do Cinema: Uma Introduc a Janeiro. Aumont, J. (1997), The Image, British Film Institute, London. Aumont, J., Bergala, A., Marie, M. and Vernet, M. (1992), Aesthetics of Film, University of Texas Press, Austin, TX. o, Imaginac o, Paz E Terra, Avellar, J.C. and Imagem, E. (1982), Imagem E Som, Imagem E Ac a a Rio de Janeiro. Aziz, A. and Zainol, N.A. (2011), Destination image, an overview and summary of selected research (1974-2008), International Journal of Leisure and Tourism Marketing, Vol. 2 No. 1, pp. 39-55. Beeton, S. (2005), Film-Induced Tourism, Channel View, Clevedon. o Paulo. tica Do Cinema, Martins Fontes, Sa Betton, G. (1987), Este Boland, P. and Williams, L. (2008), The role of image in service promotion: focusing on the inuence of lm on consumer choice within tourism, International Journal of Consumer Studies, Vol. 32, pp. 382-90. o Castrogiovanni, A.C. and Gastal, S. (Eds) (1999), Turismo Urbano, Cidades, Sites De Excitac a o Do Autores, Porto Alegre. stico, Edic Tur a Cooper, C., Fletcher, J., Fyall, A., Gilbert, D. and Wanhill, S. (2008), Tourism, Principles and Practices, 4th ed., Pearson, Harlow. (1994), El Turismo, Feno meno Social, Fundo de Cultura Econo mica, De La Torre Padilla, O Tlalpan. Featherstone, M. (2007), Consumer Culture and Postmodernism, Sage, London. rios Porto-Alegrenses, UE Porto Alegre. Gastal, S. (1999), Salas de Cinema, Cena Goeldner, C.R. and Ritchie, J.R.B. (2009), Tourism, Principles, Practices, Philosophies, 11th ed., Wiley, Hoboken, NJ. Gunn, C.A. (1972), Vacationscape: Designing Tourist Regions, 1st ed., University of Texas, Austin, TX. Hudson, S., Wang, Y. and Gil, S.M. (2011), The inuence of a lm on destination image and the desire to travel, a cross-cultural comparison, International Journal of Tourism Research, Vol. 13, September, pp. 177-90. Jennings, M.W., Doherty, B. and Levin, T.Y. (Eds) (2008), Walter Benjamin, The Work of Art in the Age of its Technological Reproducibility and Other Writings, The Belknap Press of Harvard University Press, Cambridge, MA. Jones, D. and Smith, K. (2005), Middle-earth meets New Zealand: authenticity and location in the making of the Lord of the Rings, Journal of Management Studies, Vol. 42 No. 5, pp. 923-45. ria, T. and Georgson, A. (2008), Strategic Brand Management: a European Keller, K.L., Ape Perspective, Pearson, Harlow. Kotler, P., Haider, D.H. and Rein, I. (1993), Marketing Places, Attracting, Investment, Industry, and Tourism to Cities, States and Nations, The Free Press, New York, NY. Krippendorf, J. (1987), The Holiday Makers, Understanding the Impact of Leisure and Travel, Butterworth-Heinemann, Oxford. McLuhan, M. (1964), Understanding Media, the Extensions of Man, Routledge, London. Morse, J.M. and Niehaus, L. (2009), Mixed Method Design, Principles and Procedures, Left Coast Press, Walnut Creek, CA.

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nsterberg, H. (1970), The Film: A Psychological Study, Dover Press, Dover. Mu OConnor, N. and Macionis, N. (2011), How can the lm-induced tourism phenomenon be sustainably managed?, Worldwide Hospitality and Tourism Themes, Vol. 3 No. 2, pp. 173-8. Roecklein, J.E. (2004), Imagery in Psychology: a Reference Guide, Greenwood, Westport, CT. Roesch, S. (2009), The Experiences of Film Location Tourists, Channel View, Bristol. stico: um Enfoque Promocional, Papirus, Campinas. Ruschmann, D.v.d.M. (2001), Marketing Tur Suvantola, J. (2002), Tourists Experience of Place, Ashgate, Aldershot. Theobald, W. (ed.) (2001), Global Tourism, Butterworth-Heinemann, Oxford. Tzanelli, R. (2007), The Cinematic Tourist, Explorations in Globalization, Culture and Resistance, Routledge, Abingdon. Urry, J. (2002), The Tourist Gaze, Sage, London. Veal, A.J. (2011), Research Methods for Leisure and Tourism: a Practical Guide, Pearson Education, Harlow. Visit Britain Corporate Website: Brand Partnerships (2007), available at: www.visitbritain.org/ aboutus/marketing/brandpartnerships/lm.aspx (accessed 15 July 2011). Wilson, A. (2006), Marketing Research, an Integrated Approach, Pearson, Harlow. Further reading Creswell, J.W. (2009), Research Design, Qualitative, Quantitative, and Mixed Methods Approaches, 3rd ed., Sage, London. Corresponding author ez can be contacted at: rafbasanez@yahoo.com n Rafael Pires Basa

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