film tourism essay

The French Journal of Media Studies

Accueil Numéros 9.1. Interviews Local Aspects and Impacts of Film...

Local Aspects and Impacts of Film-induced Tourism

Texte intégral.

• 1 Stefan Roesch, The Experiences of Film Location Tourists (Bristol: Channel View Publications, 2009) (...)

2 Visit California homepage. https://www.visitcalifornia.com/road-trips/movie-locations-tour/ <accessed on January 12, 2022>.

• 3 “Back to Bridgerton – 11 filming locations from the hit show,” Visit Britain. https://www.visitbrit (...)
• 4 “Game of Thrones,” Discover Northern Ireland. https://discovernorthernireland.com/things-to-do/tv-a (...)
• 5 “Film Tourism,” Tourism New Zealand . https://www.tourismnewzealand.com/markets-insights/sectors/fil (...)

1 In The Experiences of Film Location Tourists , Stefan Roesch mentioned that “film tourism is a specific pattern of tourism that drives visitors to see screened places during or after the production of a feature film or a television production.” 1 This trend has now definitely been taken up by different national and local tourism industries: California, home to many Hollywood studios, has of course its own specific internet page dedicated to film/TV tourism, 2 and VisitBritain , which had notably highlighted many Harry Potter -themed destinations, now focusses on Back to Bridgerton-11 filming Locations From the Hit Show . 3 Discover Northern Ireland has been surfing on the worldwide success of Game of Thrones 4 while New Zealand, which welcomed the famed shooting of The Lord of the Rings trilogy, devotes one section to film tourism on Tourism New Zealand . 5

6 See for example https://www.wbstudiotour.co.uk or https://www.gameofthronesstudiotour.com <accessed on January 12, 2022>.

• 7 « Suivez les traces du Da Vinci Code au cœur de paris », City Breaker . https://city-breaker.com/da- (...)
• 8 Different modifications were then added. CNC, Crédit d’impôt international, https://www.cnc.fr/prof (...)
• 9 Variety Staff, “France, Capital of Film, Provides 30% Rebate to Foreign Producers,” Variety.com . ht (...)

2 Films and TV series also generate their own dedicated tourism activities, whether it be on their official sites 6 or through private companies’ like City Breaker’s still active Da Vinci Code -themed tour. 7 France is a rather late comer to the full panoply of film-induced tourism as the law facilitating hosting foreign runaway productions on its territory was only voted in 2009. 8 Since then Dunkirk (Christopher Nolan, 2017), Fantastic Beast s: The Crimes of Grindelwald (David Yates, 2018), Inception (Christopher Nolan, 2010), M:I – Impossible - Fallout (Christopher McQuarrie, 2018), Sherlock Holmes: A Game of Shadows (Guy Ritchie, 2011), Thor (Keneth Branagh, 2011), Wonder Woman (Patty Jenkins, 2017) and the TV series Merlin (Shine and BBC Wales, 2008-2012) were among the big-budget productions that have benefited from the enticing French tax rebate. 9

• 10 For more on this, see for example the works of Sue Beeton, Kerry Seagrave Daniel Steinhart and Jane (...)
• 11 Busby, G.  and  Klug, J. ,  “Movie-induced Tourism: The Challenge of Measurement and Other Issues , ”   Jou (...)

3 As studied by several academics 10 across a variety of disciplines (for example film studies, economics, geography, adaptation studies, etc.), national legislature’s passage of such tax rebates is expected to reap benefits during and after the shooting of films and TV series on their territories. Film/TV-induced tourism is one of the expected benefits, which has been catalogued into nine different forms, according to Busby and Klug: 11

Table 1: Forms and Characteristics of Movie Tourism

12 Roesch, The Experiences of Film Location Tourists , 14.

4 This section presents some of these forms through three interviews with “involved tourism stakeholders” 12 taking about different local aspects and impacts of film-induced tourism.

• 13 Simon Hudson and J.R. Brent Ritchie, “ Promoting Destinations via Film Tourism: An Empirical Identif (...)
• 14 CNC, “L’impact des tournages sur le tourisme,” and “Cinéma et tourisme font bon ménage à Dunkerque, (...)
• 15 Sarah Kelley, “Tourism, Cinema and TV Series Conference,” Transatlantica 2, (2018). https://journal (...)
• 16 The film sheds light on Operation Dynamo during which the allied troops were evacuated from the Fre (...)

5 The interview “ Dunkerque and Dunkirk, ” which can be said to embody the first four forms of Busby and Klug’s classification, highlights the now widespread example of the impact of the “placement of destinations in movies and its influence on tourism” 13 through the case of Dunkirk (Christopher Nolan, 2017), a film that benefited from the French tax rebate and led to a case study by the CNC. 14 In this interview derived from the 2018 day-conference on Tourism, Film and TV Series , 15 Jean-Yves Frémont, town councilor in employment, economic development and tourism, and Sabine l’Hermet, director of Dunkerque tourist office, detail how the locally-shot American blockbuster 16 points to the link between the film industry and the role of tourism in local and regional development, notably for the French Hauts-de-France territory and the city where those historical events took place.

17 Busby and  Klug, “Movie-induced Tourism: The Challenge of Measurement and Other Issues,”   318 .

6 In the “Bayeux and the Game of Thrones ® tapestry” interview, which can be related to the fourth and fifth forms defined by Busby and Klug, 17 Fanny Garbe, head of advertising and communication at the French Bayeux Museum, and Séverine Lecart, consumer marketing manager at Tourism Ireland, explain how Bayeux came to benefit from the television series’ Bayeux-inspired tapestry. The now famous Game of Thrones ® television series has no physical links to Bayeux nor its surrounding area. But its subsequent Bayeux-inspired tapestry came to be exhibited in Bayeux as its layout visually echoes its ‘ancestor’s’ depiction of the conquest of England in 1066 by the Duke of Normandy. Commissioned by HBO and Tourism Ireland, the Game of Thrones® tapestry has thus a narrative and visual link to Bayeux and is another example of the impact film/TV-induced tourism can have on regional economic development.

• 18 The festival presents itself as “the biggest European event entirely dedicated to television series (...)

7 Finally, film/TV-induced tourism can also be linked to festivals, which can be related to the third and ninth forms described in Busby and  Klug’s classification .  Derived from the exchange also held at the 2018 day-conference on Tourism, Film and TV Series , the interview with Karina Hocquette, education, and audience-development manager for the Séries Mania festival, underlines the festival’s impact on the French Hauts-de-France territory. The city of Lille in Northern France has in fact been hosting Séries Mania 18 since 2018 with different Séries Mania-labelled events and performances linked to the best international television series. It has subsequently led to a Series-Mania impact on the tourism industry for the Hauts-de-France region.

1 Stefan Roesch, The Experiences of Film Location Tourists (Bristol: Channel View Publications, 2009), 6.

3 “Back to Bridgerton – 11 filming locations from the hit show,” Visit Britain. https://www.visitbritain.com/gb/en/bridgerton-11-filming-locations-hit-show <accessed on January 12, 2022>.

4 “Game of Thrones,” Discover Northern Ireland. https://discovernorthernireland.com/things-to-do/tv-and-film/game-of-thrones <accessed on November 23, 2021>.

5 “Film Tourism,” Tourism New Zealand . https://www.tourismnewzealand.com/markets-insights/sectors/film-tourism/ <accessed on January 12,2022>.

7 « Suivez les traces du Da Vinci Code au cœur de paris », City Breaker . https://city-breaker.com/da-vinci-code-paris/ <accessed on January 12, 2022>.

8 Different modifications were then added. CNC, Crédit d’impôt international, https://www.cnc.fr/professionnels/aides-et-financements/multi-sectoriel/production/credit-dimpot-international_778354 <accessed on November 29, 2021> and “Aperçu du système français de crédits d’impôts pour la production cinématographique et audiovisuelle, http://enter-law.com/french-tax-credit-for-film-and-tv-production/?lang=fr <accessed on November 30, 2021>.

9 Variety Staff, “France, Capital of Film, Provides 30% Rebate to Foreign Producers,” Variety.com . https://variety.com/2018/artisans/production/france-production-incentives-2-1202666453/ <accessed on January 11, 2022>.

10 For more on this, see for example the works of Sue Beeton, Kerry Seagrave Daniel Steinhart and Janet Wasko.

11 Busby, G.  and  Klug, J. ,  “Movie-induced Tourism: The Challenge of Measurement and Other Issues , ”   Journal of Vacation Marketing 7, no. 4 (October 2001):  318 .

13 Simon Hudson and J.R. Brent Ritchie, “ Promoting Destinations via Film Tourism: An Empirical Identification of Supporting Marketing Initiatives, ” Journal of Travel Research 44, (May 2006): 387-396. https://www.researchgate.net/publication/237807231_Promoting_Destinations_via_Film_Tourism_An_Empirical_Identification_of_Supporting_Marketing_Initiatives <accessed on April 24, 2021>.

14 CNC, “L’impact des tournages sur le tourisme,” and “Cinéma et tourisme font bon ménage à Dunkerque,” CNC , https://www.cnc.fr/cinema/etudes-et-rapports/etudes-prospectives/limpact-des-tournages-sur-le-tourisme_227677 and https://www.cnc.fr/cinema/actualites/cinema-et-tourisme-font-bon-menage-a-dunkerque_44888 <both accessed on January 11, 2022>.

15 Sarah Kelley, “Tourism, Cinema and TV Series Conference,” Transatlantica 2, (2018). https://journals.openedition.org/transatlantica/13571 <accessed on June 30, 2021>.

16 The film sheds light on Operation Dynamo during which the allied troops were evacuated from the French city of Dunkerque in 1940.

18 The festival presents itself as “the biggest European event entirely dedicated to television series in Europe,”  Series Mania . https://seriesmania.com <accessed on June 9, 2021>.

Pour citer cet article

Référence électronique.

Nathalie Dupont , «  Local Aspects and Impacts of Film-induced Tourism  » ,  InMedia [En ligne], 9.1. | 2021, mis en ligne le 15 janvier 2022 , consulté le 22 août 2024 . URL  : http://journals.openedition.org/inmedia/3027 ; DOI  : https://doi.org/10.4000/inmedia.3027

Nathalie Dupont

Nathalie Dupont is Associate professor of American studies at the University du Littoral Côte d'Opale (ULCO). Her research focuses on the contemporary films produced by American studios, and what those films tell us about American society. It also focuses on the links between Hollywood and American Christians. She has published several articles on those subjects, as well as  Between Hollywood and Godlywood: the Case of Walden Media  (Peter Lang, London, 2015). She is a co-founder of CinEcoSA ( https://www.cinecosa.com ) and co-organizer of several of its conferences.

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• Introduction [Texte intégral] Paru dans InMedia , 9.1. | 2021
• Bayeux and the Game of Thrones ® tapestry [Texte intégral] An interview with Fanny Garbe, head of advertising and communication at Bayeux Museum, and Séverine Lecart, consumer marketing manager at Tourism Ireland Paru dans InMedia , 9.1. | 2021
• Marketing Films to the American Conservative Christians: The Case of The Chronicles of Narnia [Texte intégral] Paru dans InMedia , 3 | 2013
• Cinema and Marketing: When Cultural Demands Meet Industrial Practices [Texte intégral] Paru dans InMedia , 3 | 2013

Droits d’auteur

Le texte seul est utilisable sous licence CC BY-NC 4.0 . Les autres éléments (illustrations, fichiers annexes importés) sont « Tous droits réservés », sauf mention contraire.

• Index de mots-clés

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JSmol Viewer

Films and destinations—towards a film destination: a review.

1. Introduction

2. methodology and research context, 3. descriptive results, 4. discussion, 4.1. destination image, 4.1.1. destination image and information sources, 4.1.2. the impact of cinema on the destination image, 4.2. film-induced tourism and film tourist, 4.2.1. film tourism concepts, 4.2.2. film tourism and locations, 4.2.3. the motivations and activities of film tourists, 4.3. films and series as destination promotion tools, 4.3.1. the role of marketing, 4.3.2. attracting film production companies to the destination, 4.3.3. making the most of the promotional value of films and series, 5. conclusions: practical implications, 5.1. positive implications, 5.2. negative implications, 5.3. general implications and limitations, author contributions, institutional review board statement, informed consent statement, data availability statement, conflicts of interest.

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Domínguez-Azcue, J.; Almeida-García, F.; Pérez-Tapia, G.; Cestino-González, E. Films and Destinations—Towards a Film Destination: A Review. Information 2021 , 12 , 39. https://doi.org/10.3390/info12010039

Domínguez-Azcue J, Almeida-García F, Pérez-Tapia G, Cestino-González E. Films and Destinations—Towards a Film Destination: A Review. Information . 2021; 12(1):39. https://doi.org/10.3390/info12010039

Domínguez-Azcue, Janire, Fernando Almeida-García, Gema Pérez-Tapia, and Estefanía Cestino-González. 2021. "Films and Destinations—Towards a Film Destination: A Review" Information 12, no. 1: 39. https://doi.org/10.3390/info12010039

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Contemporary Approaches Studying Customer Experience in Tourism Research

ISBN : 978-1-80117-633-0 , eISBN : 978-1-80117-632-3

Publication date: 8 August 2022

Films are arguably one of the most influential phenomenon of modern society. They are remarkable and effective means of conveying stories and influencing humans. Films are one of the most important factors that motivate people to travel to a destination. This chapter will explore the phenomenon which is widely known as film tourism and its role in tourist experience. To gain a better understanding of film tourism experiences, this chapter presents key concepts and analyzes existing studies. The analysis investigates important aspects of film tourism experience, including experience satisfaction and storytelling. It tries to highlight how films can influence tourist experiences beyond the travel itself, with a strong emphasis on the role of storytelling and film tourism experience satisfaction. To help readers achieve a clearer and more detailed understanding of the unique and dynamic nature of film tourism experiences, this chapter provides an overview of the tourist experience by conducting a comprehensive literature review on the subject. By doing this, this chapter proposes a new framework of film tourist experience satisfaction while describing the relationship between influential factors such as previous film experiences, motivation to visit a destination, destination expectations, on-site destination experience, and tourist involvement. Finally, conclusions are drawn presenting storytelling as a contemporary approach in the domain of film tourism experiences.

• Film tourism
• Movie-induced tourism
• Tourist experiences
• Experience satisfaction
• Storytelling
• Consumer experience

Oshriyeh, O. and Capriello, A. (2022), "Film-Induced Tourism: A Consumer Perspective", Jaziri, D. and Rather, R.A. (Ed.) Contemporary Approaches Studying Customer Experience in Tourism Research , Emerald Publishing Limited, Leeds, pp. 223-244. https://doi.org/10.1108/978-1-80117-632-320221022

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FILM TOURISM AND ITS IMPACT ON TOURISM DESTINATION IMAGE

• August 2022

• Taiz University

• Selcuk University

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Academy of Strategic Management Journal (Print ISSN: 1544-1458; Online ISSN: 1939-6104)

Review Article: 2021 Vol: 20 Issue: 2S

Analysis of the Impact of Film Tourism on Tourist Destinations

Esther Velasco-Ferreiro, Universidad Católica San Antonio de Murcia (UCAM) & CET-UB Barcelona School of Tourism, Hospitality and Gastronomy

María Concepción Parra-Meroño, Universidad Católica San Antonio de Murcia (UCAM)

Eugeni Osácar-Marzal, CETT-UB Barcelona School of Tourism, Hospitality and Gastronomy

Miguel Ángel Beltrán-Bueno, Universidad Católica San Antonio de Murcia (UCAM)

Since the first decade of the 21st century, film productions have been used as a tool for the promotion of tourism. As Iwashita (2006) states, cinema and television have the capacity to influence people to choose a location as a tourist destination. This reality shows that from the point of view of a destination, there is a need to understand the opportunities to be found by combining tourism and cinema. Currently, many locations are beginning to consider film tourism as a distinct tourism strategy. In this context of growing interest, it's important to reflect on the different benefits that film tourism can produce in tourist destinations, in order to develop a range of services capable of generating a tourist experience as unique and enriching as possible. The main objective of this study is to analyse the impact that film tourism can have on tourist destinations. To achieve this, in-depth interviews have been carried out with expert managers in entities related to the audiovisual and tourism world. After conducting a qualitative and quantitative analysis, it can be concluded that film tourism, when properly implemented, can generate both economic and social benefits in the tourist destinations that decide to develop it.

Audiovisual Productions, Destination Image, Film Tourism, Tourism Desti-nation, Tourism Marketing

Introduction

Tourism and cinema have more in common than one might think. Although these two concepts are not usually related, these two industries have much in common, both because of their origins, both being the result of the search for new sensations and visual experiences, and because of their link to the world of culture, leisure and entertainment.

According to Lipoyetsky & Serroy (2009), both became popular in the 20th century as great attractions for the modern masses.

Although at the beginning, in the second half of the 20th century, the influence of cinema as a motivating factor when choosing to visit a destination was spontaneous and unplanned, since the last decade of the 20th century, this influence has been recognised. Nowadays, the influence of audiovisual productions on the image of a destination is undisputed. According to a study conducted by the Travelsat Competitive Index (TCI Research, 2018), in 2017, 80 million tourists decided to travel to a destination motivated by films and TV series. This study also reveals that the number of tourists who choose a destination for this reason has doubled in the last five years.

For this reason, this study aims to study the "tourist" impact that film tourism can have on destinations and to analyse the potential of film tourism as a differentiating tourism promotion strategy for destinations.

In order to achieve these objectives, a methodical review of literature on film tourism was carried out. This review of the literature has led us to obtain a series of statements that have been put forward through in-depth interviews with experts in the field. In this way, the aim was to clarify the benefits of the binomial: film and tourism.

This study was designed in the following way. The literature review section deals with the approach to film tourism as a concept; the economic, social and cultural impact of film tourism and the image and cultural identity of the tourist destination. The following section sets out the methodology used to achieve the objectives, explaining the tools and techniques used in the research. The results section shows the results obtained in the in-depth interviews. Finally, the discussion and conclusions are presented and future directions for research are suggested.

Literature Review

Approach to the Concept of Film Tourism

One of the first ways to describe film tourism was the term “movie induced tourism” coined by (Riley & Van Dore, 1992), who noted the influence of the Seventh Art on the tourism industry. Although there are various accepted definitions of film-induced tourism, (Evans, 1997) proposes the term “film induced tourism”. He defines it as "tourists' visits to a destination or attraction as a result of the destination being featured on cinema screens, television or video" (Evans, 1997). Years later, (Busby & Klug, 2001) introduced the term “film tourism” and, for the first time, proposed the relationship between the audiovisual sector and the tourism sector, pointing out that this type of tourism can offer beneficial opportunities for the development and promotion of tourism for tourist destinations.

These concepts have been addressed by other researchers, in this sense, (Beeton, 2005) distinguishes between the concepts of “film induced tourism” and “movie induced tourism”. The former refers to an interest in travelling to a "real" place depicted in a film, series, etc. and the latter to an interest in travelling to a "not real" place associated with a film, series, etc., such as, for example, a theme park created for purely tourist purposes.

These terms are widely used in the English-speaking world. However, according to (López & Osácar, 2006), in Spain, the term “film tourism” is the one that has gained most acceptance in recent years. According to Roesch (2009), it can be stated that film tourism refers to tourists who decide to travel to a place they have previously seen in a film or series. Roesch's definition refers to films or series.

A more updated definition proposed by Osácar defines film tourism as: Travel to places, prompted by their appearance in films or series, as well as the tourist experience through products and attractions linked to films and series (Osácar, 2018).

Economic, Social and Cultural Impact of Film Tourism

As mentioned in the introduction, according to (TCI Research, 2018), in 2017 there were eighty million international tourists who made tourist trips to visit destinations where films, series or commercials were shot.

In this sense, it can be said that the impact of filming in a territory implies an effect on the economy on three levels: during filming, after filming and with regard to the image of a destination (Shooting in Spain, n.d.).

The first tends to generate an economic effect from the hiring of professionals: "it is estimated that more than 30% of the overall budget of a production takes place in the chosen locations, either through direct, indirect and induced expenses" (Shooting in Spain, n.d.).

The second, related to the economic impact after filming, is directly related to film tourism: the increase in the number of films and, above all, globally successful series, has allowed destinations to create tourism products that allow viewers to visit locations and routes that are known worldwide thanks to these audiovisual works.

Thirdly and finally, the effects of film tourism on the image of a destination are very positive, as they considerably improve a destination's reputation. Thus, viewers prolong the experience lived in the series through their social networks, extending their experiences to the place where the world-famous series or film was shot: "the contents and the locations where they were made continue to live on and are talked about in different ways in the digital world" (Shooting in Spain, n.d.). For example, this is the case of Game of Thrones, which has helped to promote destinations through its great impact on social networks thanks to a large fan base.

If we look at the economic impact of film tourism, it's important to clarify that, due to the lack of economic data collection by most tourism administrations in different countries, measuring this impact, not only in economic figures, but also in increased numbers of tourists, is advisable. Thus, taking as an example the figures shown in Table 1 , "Impact of film tourism", it is possible to observe large increases in visitors as a consequence of film tourism. This is the case, for example, with Braveheart (Mel Gibson, 1995), which stimulated a considerable increase in visitors to the W. Wallace monument in Scotland, achieving figures of 300%.

On the other hand, there is no doubt that film tourism has a great impact on the social and cultural side of people, as films significantly influence people's behaviour.

According to Berger & Luckmann (1966), the lived experience or the social construction that each individual formulates through what surrounds them allows them to construct meaning in their lives. In this individual construction that gives meaning to life, media such as cinema play a very important role, as pointed out by Saurette (1992); Johnston (1989, 1992); Janson (2002). Moreover, this construction is linked to the meaning that each individual gives to their social context (Goffman, 1974). Thus, mass media becomes one of the main influences on social construction.

Markwell (2001) recognises this media influence and also relates it to tourism, pointing out that the visual elements of popular culture have a significant influence on the ideas and beliefs that tourists construct about a destination. In this sense, cinema stands as one of the most influential forms of mass media for tourism and travel, through fiction and non-fiction films, despite the fact that the works with the greatest impact tend to be series and feature-length fiction films (Beeton, 2000, 2001; Cohen, 1986; Riley, 1994; Tooke & Baker, 1996). Ultimately, many film tourists seek out destinations to relive film experiences in situ (Beeton, 2005). Maltby, et al., (2001), point out that there is a celebrity worship syndrome, whereby tourists travel to certain places where celebrities live. There are also cases such as the film Titanic (James Cameron, 1997), which increased tourist interest in cruises (Tucson's Future, 1998).

In summary, and based on all these examples, it can be affirmed that film tourism can have an economic, social and cultural impact on destinations.

The Destination's Image and Audiovisual Productions

Several authors (Croy & Wlaker, 2003; Hyounggon & Richardson, 2003; Morgan & Pritchard, 1998; Schofield, 1996) recognize that the visual media have a decisive influence on the formation of the image of the tourist destination. Moreover, among the different media, cinema is considered to be one of the most powerful. According to (Morgan & Pritchard, 1998), this is largely due to the fact that nowadays more importance is given to the visual than to the written.

For example, Riley & Van Doren (1992) take the film (Dundee, 1986) to illustrate the role of film in shaping the image of the location and the potential it has in creating the cognitive and affective image in the minds of potential tourists through empathy, thereby boosting motivation to travel to the destination.

According to Gartner (1993), the appearance of a destination in film or television has transformed the cognitive and affective component of the destination image known to tourists, thus forming a new overall image of tourism.

Researchers Kim & Richardson (2003) believe that tourist destinations featured in films and series can easily gain recognition and admiration from less psychologically resistant viewers than the usual advertising. In this process, empathy is produced, that is, the audience gains shared affection, putting themselves in the place of the protagonist of the story. According to the same authors, the higher the degree of shared feeling, the easier it is to transform tourist motivation into action.

According to Grihault (2003), it is those films that reflect an authentic image of the destination that tend to engage tourists the most. Tourists want to know and experience what they see in the images they see in films, because they long for authenticity (Urry, 1990).

Iwashita (2006) points out that images of tourist destinations constituted through popular media such as television, literature and film play an important role in influencing the choice of the place to visit.

Although, according to Parra & Beltrán (2016) the importance of a destination's image does not end with its selection, it could be affirmed that, in the decision-making process, the image of the tourist destination is increasingly considered as an essential element within the process of travel. "The importance of destination image is increasingly recognised by the public" (O'Connor, Flanagan & Gilbert, 2010).

Cultural Identity and Audiovisual Productions

One might think that the relationship between cinema and tourism is based solely on the projection of images that help to position and/or enhance the value of certain destinations. But, in reality, their relationship is much deeper and goes much further.

According to López & Osácar (2006), film can act as a transmitter of elements of identity and even help to reinforce the positioning attributes defined by the different tourist destinations.

Before beginning to explain the close relationship between cultural identity and film, and in order to understand the concept of identity, the following definition proposed by (Camprubí, 2009) is given:

The identity of a place is "a set of elements and attributes that distinguish the society inhabiting it, among which history, traditions and culture stand out, taking into account that this same identity has been formed on the basis of certain social processes" (p.79).

Taking these authors into account, it can be affirmed that film, as a form of artistic expression, and given that it has its own language and its own codes, can act as a very powerful tool for transmitting these elements of identity: history, traditions and culture.

In short, films tell stories and these serve as a vehicle to portray the cultural nuances of the society in which their actors are immersed. It is important to consider film as a powerful tool in the construction of identities, precisely because it is capable of connecting with both the rational and irrational interests of people (López & Osácar 2006).

Methodology

In addition to a systematic review of the literature, in this study, in-depth interviews were conducted with a total of seven experts, with the aim of finding out about the influence of (audiovisual) film when choosing a tourist destination, as well as identifying the advantages that film tourism can generate in tourist destinations. It is important to point out that these experts hold management positions in entities related to the audiovisual world, specifically with management positions in different Film Commissions, and that they have extensive experience in the subject matter of the research.

The type of sampling used in the in-depth interviews is intentional, since the interviewees were selected because they are Spanish experts in audiovisual and/or tourism, as mentioned in the previous paragraph.

According to Morales & López (2008), this type of interview is ideal when there is already a base of knowledge on the subject. To do this, after defining the objectives to be achieved, a set of questions was drawn up based on the information required for the research.

In terms of its level of structure, rigidity and formality, a structured and guided questionnaire was designed. The questions were asked in an open-ended manner to allow the interviewees to express their opinions. According to the same authors mentioned in the previous paragraph, the script of this type of interview serves as a guide, but the interviewer has the freedom to formulate or direct the questions in the way they consider most convenient, for greater understanding, and even to discover those unforeseen aspects that were not initially considered.

With regard to its level of depth, a semi-directive type of interview was proposed. This type of in-depth interview, according to (Navarrete, 2003), has a previously defined structure and content, based on a specific sequence in the conversation on the part of the interviewer, which allows for the interview to be guided. Even so, according to this author, there is great flexibility with regard to the form, order and language in which the questions are asked. The questions posed are set out below:

1) Do you personally believe that cinema induces tourism? What data/figures demonstrate the power of film tourism to attract tourists to a destination?

2) Do you think film tourism has an effect on the image and reputation of a tourist destination? (note that this can be either positive or negative).

3) Do you think that film tourism has the capacity to contribute to economic development in terms of employment and turnover for the tourism industry? Can you identify any specific cases?

4) Do you think that film tourism represents an important alternative for diversifying the attractions for tourists, combating seasonality and helping to position destinations?

This section sets out the results obtained from the interviews. The aim is to show the vision that the interviewees have of the influence of cinema and the audiovisual sector as a whole when it comes to travelling and choosing a tourist destination, as well as identifying the advantages that film tourism can generate in the destination.

The results obtained for each of the questions posed to the participants are shown below:

Tourism and Cinema: A Successful Pairing. Cinema Induces Tourism: There are Figures.

The interviewees consider that cinema induces tourism, since the images shown in films, on television, on the Internet or in advertising are a motivating factor when travelling to a certain destination, and in turn create a prior image of a destination and therefore induce tourism.

Expert 1 strongly believes that the Spain Film Commission has been a forerunner in analysing and highlighting the relationship between the audiovisual and tourism industries. He is convinced that cinema induces tourism. They base this assertion on data obtained regarding the impact on the viewer of the locations that appear in an audiovisual work. These data are included in the book, “Cine y Turismo, una nueva estrategia de promoción”, (Cinema and Tourism, a New Promotion Strategy) published in 2006, written jointly with Piluca Querol, director of the Andalucía Film Commission. “For example, in England, 36.1% of international tourists and 11.6% of domestic tourists surveyed admitted that they had decided to travel to their chosen destination after seeing it in the cinema or on television”.

Those interviewed with positions in the different Film Commissions believe that film tourism is clearly expanding, basically due to the exponential growth of locations used in the audiovisual world and the promotional work carried out by the Film Commissions.

Four of the interviewees refer to the TCI Research study, published in 2018, on the number of tourists who choose a destination based on the films or series they have seen.

Expert 2 believes that the images shown in films, on television, on the internet or in advertising are a motivating factor when travelling to a certain destination. In his own words: “Many German tourists ask about the locations of some successful series, even old ones, such as "Hotel Paradies" in Deiá, or the location La Fortalessa, in Pollença, which after the appearance in the series "The Night Manager", which was broadcast on British television, experienced an increase in the demand for this space for weddings”.

Expert 3 believes that cinema, and more recently, TV series, have created new vocabulary, a way of relating to places: “The combination of phenomena such as this mass language, the improvement of accessibility and mobility and the emergence of tourism as a global phenomenon from the second half of the 20th century onwards have given concrete expression to the influence of cinema and TV on tourism”.

On the other hand, both expert 3 and expert 4 agree that in Spain there are unfortunately no reliable generalized, regularly updated statistics available to support the assertion that cinema induces tourism. According to both interviewees, this is the opposite of what happens in other European countries, where they claim that such data does exist. They give as an example "Harry Potter" filmed in the UK and Scotland, or "Game of Thrones" filmed in Ireland, Croatia and Malta.

The Capacity of Film Tourism to Contribute to Economic Development, Understood as a Generator of Employment and Business for the Tourism Industry

All the interviewees agree that film tourism has the capacity to contribute to economic development as a generator of employment and business for the tourism sector. Two of them agree that there are still many difficulties in the commercial exploitation of a film tourism activity and that the support of the citizens and the various local companies is necessary for this activity to operate sustainably over time.

According to the expert, there is potential, but there is still a long way to go. The interviewee comments that in the 2018 business perception survey, carried out by Madrid Destino's Tourism Intelligence Centre (CIT), when asked about the demand for tourism products and services, the "cinematographic" category came last with 0.23%; the same figure as health tourism. The interviewee believes it necessary to devise a national strategic plan for film tourism, coordinated at the national level, following the model of other countries such as New Zealand or the United Kingdom.

Thus, expert 7 states that: “film tourism is here to stay and to grow”.

For his part, expert 6 believes that it can contribute, but in his opinion there are many difficulties in the commercial exploitation of a film tourism activity since, for example, Disney, Star Wars, Harry Potter, Asterix, etc. are registered trademarks that have their own leisure and tourism factories and do not usually cede graphic materials, sets or props from filming, unless there is a contract or agreement.

Expert 1 answers the question with a resounding yes: “audiovisual productions shot in certain locations open a window of opportunity that the tourism industry can take advantage of". He considers that the increasing diversification of filming locations broadens the offer of destinations, which creates a new means to generate wealth for all players involved in traditional tourism, either as an objective in itself, or because it is considered as part of the existing offer.

Expert 2 answers with: “yes, that is undoubtedly the case”. The interviewee believes that this wealth generation is directly related to filming and has figures that confirm this reality. He refers to the fact that, on average, 30% of the budget for filming expenses goes to companies in the tourism sector. He points out that: “Out of an estimated turnover of around 30 million euros per year in the audiovisual sector in Mallorca, one could consider that around 10 million euros would be business from the tourism sector”.

It is worth mentioning that the expert points out that, in his view, film tourism has the capacity to generate wealth, but that initiatives based on sustainability and the participation of residents must be promoted and be aware of the effects of a sudden, unplanned boom in tourism on the locations of films and TV series. He gives the example of the overflowing arrival of tourists to San Juan de Gaztelugatxe after the filming of Game of Thrones. In his own words: “there is a risk of trivialising the territory that must be addressed”.

The Effect of Film Tourism on the Image and Reputation of a Tourist Destination

Most of the interviewees consider that film tourism has an impact on the image and reputation of a destination, given that audiovisual productions are powerful drivers in the creation of a destination's initial image.

Expert 5 believes that audiovisual productions are powerful triggers for the formation of a destination's initial image. She explains that Madrid, through Almodóvar, its most emblematic and mediatic filmmaker, has created a collective image of the city associated with his films that transcends the stage and connects with a way of life, the imprint of the "Movida madrileña", a city with an open, roguish, welcoming and "cañí" spirit. Most of the participants agree that this image and reputation does not always have a positive effect, as there are films that have a negative effect on the tourist potential of certain destinations.

In this regard, expert 6 refers to the film "The Impossible" which, in his opinion, discourages travel to destinations where tsunamis may occur; or "Jaws" and its sequels. On the positive side, he comments that, if we think of New Zealand, before and after the filming and promotional campaign of the Lord of the Rings, we can see how the country's image and its unique tourist appeal have burst onto the market and generated new lines of international business. “Before Lord of the Rings, no one would have thought of going on a honeymoon or family trip to New Zealand”.

Expert 2 comments that film tourism in itself has not yet developed significantly in Mallorca. On the negative side, however, he points out that some films and television programmes in certain areas of Mallorca, such as Ballermann in Playa de Palma, or Magaluf in Calviá, have projected an image of the destination which was not what its managers had hoped for. On the positive side, he feels that "The Night Manager" has provoked a great deal of interest in the north coast of the island.

Expert 1 considers that it has an influence and explains that the reputation factor is essential for the sustainability of the resource and this is not based on the location's beauty or attractiveness, but on the destination's capacity to articulate a correct promotional campaign with the involvement of the private sector in the creation of specific products.

Film Tourism as an Alternative for Diversifying the Tourist Offer and Combating Seasonality and Helping to Promote the Status of Destinations

Most of those interviewed consider that film tourism, if well managed, would make it possible to diversify and reduce the seasonality of the supply and demand for tourism in Spain. Even so, they believe that, in some cases, these initiatives come up against private interests. According to expert 1, this was the case with the GOT Cities Network, which came up against the interests of Movistar.

The participants believe that film tourism can help to attract tourists in times of lower demand, in areas that focus on other types of tourism such as cultural tourism, convention tourism, gastronomic tourism, etc. They also believe that this type of tourism can offer a more diverse image of the destination, reaching new destinations.

On the other hand, there are also mixed opinions on the subject, whereby film tourism is seen as a great opportunity to be integrated naturally into the existing offer. However, the participants also felt that there have not been many successful initiatives in this respect.

The interviewees also consider that some films or series, even advertising spots, with a high impact on viewers, can have an impact on the destination's standing, or create elements of added value to the destination's traditional standing.

Discussion and Conclusion

As evidenced in the literature review, film induces tourism. Figures such as those presented by the Travelsat Competitive Index, (TCI Research, 2018), state that eighty million tourists chose their holiday destination based on film in 2017. Many authors such as (Berger & Luckmann, 1966; Cohen, 1986; Riley, 1994; Tooke & Baker, 1996), among others, believe that film is one of the most influential mass media for tourism and travel. According to (Beeton, 2005), many film tourists in destinations seek to relive film experiences in situ. All the experts interviewed agree with these statements and also believe that it is a growing trend and that film tourism is here to stay.

It is clear from Table 1 that film tourism has the potential to contribute to economic development, understood as a generator of employment and business for the tourism industry: Impact of film tourism. All the experts interviewed agree with this statement. In particular, expert 5 considers that there is potential, but that there is still a long way to go. She also believes that it is necessary to devise a national strategic plan for film tourism, coordinated on a national level.

Authors such as Markwell (2001) consider that film tourism has the capacity to contribute to social and cultural development. In this regard, expert 3 considers it important to promote initiatives based on sustainability and resident participation, focusing attention on the effects that sudden and unplanned growth can have on film and TV series locations.

Regarding the effect that film tourism can have on the image of a tourist destination, authors such as (Croy & Wlaker, 2003; Hyounggon & Richardson, 2003; Morgan & Pritchard, 1998; Schofield, 1996) recognize that visual media have a decisive influence on the formation of the image of a tourist destination. This statement is supported by most of the interviewees, as they agree that audiovisual productions are powerful drivers in the creation of a destination's pre-image.

In addition to the image, the experts consider that film tourism can influence the reputation of these destinations. Expert 5, for her part, believes that audiovisual productions are essential drivers in the creation of the prior image of a destination and gives the example of the project: "Madrid through Almodóvar".

In this regard, it is important to note that some of the interviewees point out that this image and reputation does not necessarily have to be positive, as there are films that convey negative effects. In particular, expert 6 refers to the film "The Impossible" which, according to this expert, discouraged tourists from travelling to tsunami-prone areas.

Authors such as López & Osácar (2006) go further and state that cinema can act as a transmitter of elements of identity and even help to reinforce the positioning attributes defined by the different tourist destinations.

Regarding whether film tourism can represent an alternative for diversifying the tourist offer, tackling seasonality and helping to position destinations, most experts believe that despite the fact that there have not been many successful initiatives in this sense, film tourism contributes to the fight against seasonality, as it can help to attract tourists at times of the year when tourist numbers are lower. Although the majority of the interviewees share this opinion, some of them consider that it represents a great opportunity for natural integration within the existing range of tourism services. The experts also consider that it can have an impact on the destination's positioning, generating elements of added value to the destination's traditional positioning.

As a final reflection, it can be concluded that the combination of cinema and tourism is a successful one which, if well articulated, can have a positive impact on tourist destinations.

Future Lines of Research

As future lines of research, it would be interesting to study the way in which film tourism should be integrated into the marketing plans of tourist destinations, as well as to analyses who should be the agents involved in this integration and promotion of destinations through the audiovisual.

Film Commissions can be defined as specialised offices supported by a governmental entity, belonging to the public administration, whose purpose is to promote a destination through the development of films, series or any type of audiovisual production.

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Why Film Tourism Is in Vogue [2023 Study]

Key Takeaways

Film tourism is gaining momentum, key reasons to engage in screen tourism, top film tourism destinations, ranked, biggest expenses associated with screen tourism, the dark side of film tourism, stacking it all up, methodology, fair use statement.

We’ve all fallen in love with a TV show or movie at least once.  

Whether it’s Harry Potter, The Walking Dead, or Breaking Bad, there’s something about getting sucked into a good story that makes you feel warm and fuzzy inside.

Did you ever consider traveling to a place you saw on Netflix?

If so, you aren’t alone.

That’s because film tourism (also known as film-induced tourism, screen tourism, and set-jetting) has been all the rave lately, with more and more people planning vacations around their beloved shows and movies. 

So at PhotoAiD, we’ve decided to reach out to 1,000+ Americans to unpack their experiences with this phenomenon, their attitudes toward it, and much more.

Let’s dive right in:

• 96% of Americans have visited places associated with their favorite television shows or movies at least once in their lifetime.
• 78% of travelers are likely or very likely to opt for TV- or movie-themed trips in 2023 and beyond.
• The most common reason to engage in film tourism ( 35% ) is to enjoy an immersive experience that lets you live out shows’ or movies’ storylines and follow in the footsteps of famous characters.
• Lodging is the most frequently mentioned film tourism expense ( 60% ), followed by transportation ( 53% ) and sightseeing ( 50% ).
• Globally, the UK and Ireland are the most desirable screen tourism destinations owing to the success of Harry Potter.
• Thanks to the Jurassic Park franchise, Hawaii was picked as the US’ most desirable film tourism destination, according to 31% of respondents.
• 68% of Americans have a negative or very negative attitude toward fellow travelers striking irreverent poses or otherwise misbehaving when visiting the sites of actual tragic events depicted in shows or movies.

For starters, we wanted to gauge the popularity of film tourism in the US at the end of 2022.

It turns out 96% of Americans have visited places associated with their favorite television shows or movies. This includes locations and destinations, popular due to their appearance on TV or themed sites built upon the fictional world.

Although we expected the number to be high, we had no idea it’d be THAT high. 

It may be because we’re watching more TV than ever before, with the average person likely to stream 437 hours of content in 2023 (=18 full days).

Here’s also a look at the extent to which respondents’ favorite movie or show was a reason to visit a particular spot:

At this point, we also decided to ask survey takers to rate their most recent screen tourism experience.

About four in 10 Americans (42%) consider it positive, and 31% describe it as very positive. As a follow-up, we asked respondents how likely they are to pick one of their next vacation destinations based on their favorite TV show or movie in 2023 and beyond.

The results are in:

As you can see, 78% of Americans are likely or very likely to opt for TV- or movie-themed trips in the upcoming years. 

Thus, it’s not surprising that companies like Airbnb and Netflix have already started to capitalize on the opportunity. 

The former has launched thematic accommodation options based on Scooby Doo, Moulin Rouge, and Queer Eye. In turn, Netflix partnered with the UN World Tourism Organization (UNWTO) to “help destinations realize the potential benefits of screen tourism.”

Even governmental bodies aren’t lagging.

In fact, the official “Visit Albuquerque” site makes it easy for Breaking Bad fans to plan location tours and visit popular spots, such as Los Pollos Hermanos, Walter White’s house, and the car wash.

That shows just how much the likes of HBO and Apple TV are changing the tourism industry and travelers’ habits.

Scroll on to see what’s fueling this trend.

People travel for all sorts of reasons.

Some want to check off their travel bucket list. Others are looking to dive under the radar and escape it all.

When it comes to film tourism, here are the TOP five motivators, according to our respondents (the text version is below, just in case):

The data shows that the most common reason to engage in film tourism (35%) is to enjoy an immersive experience that lets you live out your favorite shows’ or movies’ storylines and follow in the footsteps of famous characters.

It’s closely followed by the desire “to experience the city’s scenery shown in the movie or TV show” at 34.9% and to visit depicted restaurants, as 34.4% of respondents indicated.

These make sense, particularly if you consider TV shows.

Their slow-paced plot progression, long runtime, and character development often foster a deep connection between the viewer and the story. 

It’s no wonder many people want to go and see the spots on their own.

So far, so good.

Now that we’ve answered some of the why questions, let’s move on to the where part.

To uncover the most desirable film tourism destinations in North America, we gave respondents a list of places famous because of a movie or TV show and asked them to indicate which one was their favorite OR which they’d like to visit the most.

Below are the results:

Thanks to the Jurassic Park franchise, Hawaii was picked as the most desirable film tourism destination in the US, according to 30.6% of respondents.

How does it translate into real numbers? 

Consider this:

Jurassic World: Fallen Kingdom alone has given Hawaii’s economy a $31M boost and more than $6.9M in wages to 1,200+ Hawaii workers. 

So you could say the movie has had a T-Rex-sized impact on the islands.

We also wanted to unveil the most desirable screen tourism destinations globally. Like last time, we gave respondents a hefty list of places and prompted them to make a pick.

See the TOP five results below:

The UK and Ireland took the cake as the most desirable screen tourism destinations globally (20.2%), thanks to Harry Potter. It’s followed by New Zealand courtesy of The Lord of the Rings trilogy. Northern Ireland, the UK, and Croatia close the top three owing to Game of Thrones’ success.

Needless to say, all the destinations ​​saw a significant, lasting increase in demand after said movies and TV shows came out. 

To this day, tourists take photos at London King’s Cross railway station, famous for featuring a fictional section known as platform 9¾ in Harry Potter and the Sorcerer’s Stone.

Travel isn’t exactly cheap these days.

A pilot shortage, COVID-19-induced demand for travel, and higher fuel prices have all contributed to the recent rise in tourism costs.

So much so that ~9 in 10 vacation-goers (88%) had to downgrade their vacation plans in 2022, according to one of our recent studies.

That’s why we wanted to ask the respondents about their biggest expenses regarding film tourism.

As you can see, lodging was the most frequently mentioned expense (60%), followed by transportation (53%) and sightseeing (50%).

If you plan to fly thousands of miles to get epic Instagram snaps from Squid Game in South Korea, be prepared to open your wallet a little wider.

It’s no secret:

Many popular movies and TV shows depict or are based on true events. As a result, some locations can grow popular among travelers.

BBC’s Poldark is a good case in point.

While the series boosted Cornwall’s economy, influencing 14% of all visitors to the county, it also gave rise to the so-called “Poldark effect.” 

The phenomenon caused bumper-to-bumper traffic making some communities feel unsafe, and potentially affected the sense of the Cornish identity.

Our study also wanted to see if Americans know that film tourism can cause over-tourism to some of the most in-vogue destinations.

A total of 95% of respondents do.

Although we were pleasantly surprised by such a high number, it’s important to remember that awareness doesn’t always translate into action (after all, the “Poldark effect” came about for a reason). 

Now, as our last question, we asked the survey participants about their attitude toward fellow travelers striking irreverent poses or otherwise misbehaving when visiting the sites of actual tragic events featured in a movie or TV show (e.g., Chornobyl).

The takeaway?

Always respect the site’s rules and only take pictures when allowed. Otherwise, you won’t only make others blow a fuse but also give film tourism a bad name.

There you have it.

A comprehensive look at screen tourism to help you stay ahead of the curve.

Did you ever engage in film tourism? Which TV or movie universe would you want to travel to?

Let us know in the comments below.

We conducted an online survey of 1,060 US respondents via a bespoke online polling tool in October 2022.

The respondents were 66.8% male and 33.2% female. 7.6% of respondents were 25 or younger, 70.01% were aged 26–38, 17.1% were aged 39–54, and 5.2% were 55 or older.

This survey has a confidence level of 95% and a margin of error of 3%. Given the gender and age makeup of our sample size, the study’s findings are statistically significant for the population at large.

This study was created through multiple research steps, crowdsourcing, and surveying. Data scientists reviewed all survey participants’ responses for quality control. ​​The survey also had an attention-check question.

Did our findings help you learn more about film tourism? If you believe your audience will be interested in this information, feel free to share it. Just remember to mention the source and link back to this page.

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As a Digital PR specialist and a member of the Society of Professional Journalists (SPJ), I have 5+ years of writing experience. Over the course of my career, my work has garnered significant attention, with features in numerous prominent publications such as The New York Times, Forbes, Inc., Business Insider, Fast Company, Entrepreneur, BBC, TechRepublic, Glassdoor, and G2.

Film, TV and literature tourism insights

Find useful insights and tips on how to capitalise on film, TV and literature tourism in Scotland.

• Scotland has a wealth of TV programmes, films, and books which are set in Scotland or have links to Scotland in some way.
• Stories play a role in inspiring visitors to come to Scotland. Often, they act as a prompt to visit, particularly for European and long-haul markets.
• According to our latest Scotland Visitor Survey, one in five visitors said that film, TV or literature was a source of inspiration when deciding on Scotland.
• On this page, you will find insights on film, TV, and literature and tips on how to capitalise on screen tourism.

In this article:

1. what is screen and literature tourism, 2. scotland visitor survey 2023.

• 3. The value of Scotland's screen and TV industries

4. How can businesses get involved

5. additional tv and film research resources, key statistics.

overnight screen tourists in Scotland in 2019*

£64.9 million

visitor expenditure for Scottish businesses as a result of screen tourism activities*

of UK adults believe Scotland is a nation known for its film and TV locations**

of UK adults believe Scotland is a nation known for its well-known poets, authors and writers**

Source: * Screen Scotland ** YouGov Plc. Total sample size was 2,343 adults. Fieldwork was undertaken between 13 - 14 July 2022. The survey was carried out online. The figures have been weighted and are representative of all UK adults (aged 18+)

Screen tourism is when a visitor wants to go to a particular location because it has a connection to a certain film or TV series. This is similar to literary tourism, where a place attracts people because it has become associated with an author or a place within their work.

Screen tourism is known by many other names, among which film tourism, set-setting, and film-induced tourism. But at its heart, it's always about providing a visitor with a personal experience of a place they're familiar with through film or TV.

Stories are intertwined through the fabric of Scotland, its landscape, heritage, culture, and people. These have contributed and inspired writers to chronicle real events or weave myths and create legends. They are also at the heart of the tourism experience.

The use of stories by destinations and tourism businesses does increasingly:

• attract people’s attention
• create an emotional connection
• make destinations stand out in a sea of content and advertising

In 2023, we commissioned the Scotland Visitor Survey to gather insight on visitor attitudes and behaviours. The scope of the survey was leisure overnight visitors only.

The survey explores all aspects of the visitor experience in Scotland. Further information on the background, methodology, and key highlights from the Scotland Visitor Survey 2023 is also available.

More information on the Scotland Visitor Survey 2023.

Key insights on film, TV and literature

Film, TV, and literature play a role in inspiring visitors to come to Scotland. They help to showcase Scotland, particularly to our overseas visitors.

One in five visitors (19%) said that film, TV, or literature was a source of inspiration. This rose to 36% for European visitors and 37% for long haul visitors.

Over 30 different films and 20 different books / authors were cited by visitors. This showed that a breadth of film, TV, and literature provided a source of inspiration to visit Scotland. Outlander , Harry Potter , and Braveheart continue to be the standout items mentioned.

Films also have a longevity of influence on visitors, well beyond the release year of a film. Examples of older films cited include Local Hero and The Wickerman , which have seen their fortieth and fiftieth release anniversaries respectively in 2023.

Scotland Visitor Survey 2023 - film and TV

Published April 2024

3. The value of Scotland's film and TV industries

Screen Scotland publish comprehensive studies on the economic value of the screen sector in Scotland. Their 2019 and 2021 reports look at topics like development and production, TV broadcast, distribution, exhibitions, and screen tourism.

Read about the economic value of screen sector in Scotland on screen.scot.

Capitalise on the Outlander effect on tourism

Look at how your business might benefit from the impact of the popular Outlander TV series, adapted from author Diana Gabaldon’s novels, on Scottish tourism. This industry focused research also provides top tips to capitalise on the Outlander effect.

The Outlander Effect & Tourism

Published June 2022

This topic paper is currently under review

Capitalise on the success of the Year of Stories (2022)

This year celebrated and promoted the wealth of stories inspired by, written, or created in Scotland. From icons of literature and film to local tales, the year aim encouraged locals and visitors to connect to all forms of our stories, past and present.

Soul seeking in a destination – the importance of storytelling in tourism

Published February 2022

Further tips to capitalise on screen tourism

Identify the opportunities.

Are you near a location used in a famous film, or a place connected to an author of a popular book? Take a look at our Set in Scotland guide and do some research to discover local opportunities.

Browse our Set in Scotland guide on visitscotland.com.

Set up events

Look out for related events to share or get involved with, such as local film or literary festivals.  Maybe you can create your own?

Work together

Can you collaborate with local businesses to package up a related / themed tourism experience linked to film or book locations in the area?

Do some networking

Join your local industry private Facebook group to share ideas, ask for suggestions or collaborators on the related topic.

Find more information about our Facebook groups.

Get involved online

Take advantage of other occasions, like:

• Book Week Scotland
• World Outlander Day
• St Andrews Day

Or you could research some film and literary fan sites. Don't forget to use the correct hashtags when posting about any related opportunities online.

Set in Scotland film guide

Our "Set in Scotland guide" launched on 4 November 2022 with help from Scottish acting legend, James Cosmo.

It features more than 150 films which were shot entirely or partially in Scotland, and details more than 100 film locations. That's 46 more than the previous version published in 2016.

The guide is available across our iCentres or you can download it online.

Popular activities

Read about activities undertaken by international visitors to Britain.

Economic impact

Browse reports on the UK film economy.

How screen tourism drives visits

Read about film and TV as a driver of tourism foresight commentary (PDF).

Find filming locations

Check out filming locations in Scotland as well as local film offices.

Jenni Steele

Film & Creative Industries Manager - VisitScotland

Related links

Why people choose scotland, trends for tomorrow, blockbuster film location guide launched, culture and heritage tourism insights.

Film, tourism

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In the late 1880s, the invention of motion picture cameras made filming possible. In 1895, the Lumière brothers had their first paying Parisian audience for their film “Sortie des Usines Lumière à Lyon” (Workers Leaving the Lumière Factory in Lyons), often identified as the debut of the public screening of films. As an art form covering the range from practical, environmental, pictorial, dramatic, narrative to music, film has been developed to be an economic commodity in contemporary society, the selling of a service that is essentially psychological in nature (Monaco 2009 ).

Evolving with technical advances, film has traveled through the silent era and the sound era, as well as experiencing the periods of French Impressionism, German Expressionism, and the New Wave and Realism and cultivating different areas like European art house cinema, Hollywood cinema, etc. DVD and the Internet have enhanced its dissemination, while 3D and 4D movies increase a film’s popularity as the way of...

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Hao, X. (2014). Film, tourism. In: Jafari, J., Xiao, H. (eds) Encyclopedia of Tourism. Springer, Cham. https://doi.org/10.1007/978-3-319-01669-6_86-1

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