Throughout history daylighting has been a crucial factor in the design buildings. Until this century windows have held a special place in architecture.The effects of locational differences and the controls devised to vary the admission of light are discussed. The relationship between the functional needs of people or processes and the adequacy of light are considered in terms of architectural form. Lighting can be strongly evocative and the way it is used can reinforce philosophical ideas which may be implicit in the expression of a building. The spacing and height of groups of buildings also have a bearing on the problem and are discussed. It is concluded that though it is becoming increasingly difficult to provide the illuminances required for many activities by the use of daylight alone, qualities such as visual relief, contact with the outside world, sunlight and the pleasing effects of modelling associated with daylight must be taken into account.
PurposeThe purpose of this paper is to investigate what the authors have termed displacement theory (grounded in aspects of authenticity) within the larger phenomenon of film‐induced tourism and to present a clearer understanding of the inherent implications and opportunities for economic development this may bring.Design/methodology/approachThe objectives are achieved through critical review of previous film tourism literature combined with use of blog and key‐informant interview research. The research follows an interpretive paradigm and address a gap in the film‐induced tourism literature on the area of authenticity and displacement.FindingsKey research findings revealed that “3” distinct tourist types exist in film tourism which gives rise to “3” distinct markets. Authenticity is important to film tourists, especially when displacement occurs. There is a lack of industry understanding and recognition which ignores film locations when displacement occurs.Practical implicationsThere needs to be greater recognition and acceptance of film‐induced tourism, closer collaboration between tourist authorities and film bodies, greater efforts to develop and promote the film locations as opposed to the story settings/places depicted, retention or re‐creation of film sets – building simulacra if necessary to retain more essence of film authenticity and greater use of qualitative research, especially through new and innovative means such as the blog techniques used in this study.Originality/valueThis paper addresses a gap in previous film tourism literature regarding authenticity and displacement and as such makes an original contribution to this field. New innovative methods (using blog research) also bring a fresh approach. This paper will be of value to academics and industry practitioners interested in film‐induced tourism and indeed tourism in general, as well as students studying/researching this important field.
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