Social networks have become an important supplement to traditional forms of marketing channels for destination branding. YouTube is believed to be one of the most influential social media and video sharing platforms. Its visual character, informal setting and address of the youth segment would expectedly mean a high level of creativity in the process of destination branding. By means of qualitative analysis of what are considered to be the best videos as self-selected by the European destination management organizations (DMOs), we wished to ascertain how creative these best case examples really were. The results show that the videos are extremely similar, with the most common type a “collage” of only loosely connected visuals with rare elements of storytelling or humor as the most typical creative approaches. While following the desire to show the diversity of a destination, the destination branding videos paradoxically become a collection of similar visual images and thus fail to contribute to the differentiation of the destination brand. The results show that future advice to practitioners of destination marketing for YouTube is to go beyond the typical “collage” genre of a destination marketing video and focus more on storytelling, humor and especially the most difficult step in the destination branding: strategically focusing on the smaller number of specifics that differentiate a destination rather than on the multitude of the highly diverse experiences.
PurposeAmazon Explore is a new online experience product from Amazon, which offers live stream sightseeing of destinations around the world. This paper aims to provide a first insight into how exactly Amazon Explore enters the virtual experience (VE) industry, and discuss the possible implications of its business model for the future of virtual and offline travel experiences.Design/methodology/approachQualitative and quantitative methods of content analysis methods were employed in this study. The sample of this research consisted of 175 Amazon Explore products. Firstly, the authors analysed the content of each product, and then quantitative method were used to present the data. With this analysis, the authors presented how Amazon Explore is testing the foundations for new business models, and discuss the possible implications for the future of tourism. One year later, those same Amazon Explore products were reviewed again to check development progress. The following were the main questions regarding VE: How interactive are Amazon Explore products? How does Amazon Explore aim to ensure the monetisation of these products in an economically sustainable way in order to go beyond the “freemium” business model, often associated with VE as just another destination marketing tool?FindingsThis article presents the discussions of VE and virtual reality (VR). The authors determined the level of interactivity of the diverse VE offered themes with a model of four levels of interactivity. The results show that the analysed products achieve mostly only low levels of interaction. Regarding monetisation, Amazon Explore shows three possible future directions in the development of VE: as a marketing tool, as an extension of the offline experience and as potentially someday replacing real travel as part of the future monetisation scenario.Originality/valueThe article offers the first insights into Amazon's extension into the realm of VE in two time periods in 2020 and 2021, and, based on these preliminary results, discusses four possible scenarios for the future development of VE monetisation.
Destinacijski marketing je v zadnjih dveh desetletjih doživel pravo preobrazbo zaradi razvoja interneta in sodobne IKT tehnologije. To je označeno z globalno koncentracijo moči digitalnih platform in spremembami, ki sledijo družbeno-ekonomskim krizam v zadnjih dveh desetletjih. Osrednji del komuniciranja turističnih destinacij oziroma DMO-jev danes poteka prek uradnih spletnih strani in družbenih omrežij, kot so YouTube, Facebook, Instagram in v zadnjih letih Tik Tok. Prav tako je s pojavom pandemije COVIDA-19 veliko DMO-jev razširilo svojo promocijo tudi z virtualnimi vsebinami, in sicer s 360-stopinjski posnetki destinacij, znamenitosti, muzejev, z VR ogledi, s pomočjo VR očal in z AR mobilnimi aplikacijami. V marketinških kampanjah so v tem času nagovarjali goste, naj spoznavajo lastno državo oziroma da so varna destinacija, in jih vabili k obisku. Uporaba novih tehnologij, ki se uporabljajo tudi v promocijske namene, je ključnega pomena za ohranjanje konkurenčnosti destinacij na trgu. Digitalizacija je prinesla številne nove priložnosti, poleg tega pa tudi izzive pri vključevanju novih tehnologij v promocijo destinacij.
Monografija »Turistična destinacija Artiče: študija izvedljivosti« obravnava turistični razvoj potencialne destinacije Artiče. Artiče so kraj v občini Brežice v posavski regiji, kjer v zadnjem času dajejo velik poudarek razvoju turizma. Občina je znana predvsem po zdraviliškem turizmu, vendar se čedalje bolj razvija tudi druga ponudba – od naravnih in kulturnih znamenitosti do gastronomske in športne ponudbe. Krajani Artič, ki so ponosni na danosti svojega območja, želijo v svoje konce privabiti obiskovalce, zato so se povezali s Fakulteto za turizem Univerze v Mariboru, da bi pripravili študijo izvedljivosti potencialne turistične destinacije. Pri projektu so skupaj z mentorji sodelovali študenti 1. letnika magistrskega programa in 3. letnika visokošolskega študijskega programa ob participativnem sodelovanju lokalnega prebivalstva. Po opravljeni analizi območja so pripravili strateški dokument za razvoj turistične destinacije skupaj z marketinškim načrtom posameznih predlaganih turističnih produktov.
Raziskava v okviru projekta Turizem 4.0 je bila izvedena s ciljem ustvariti boljši pregled nad evropskim ekosistemom na področju digitalizacije kulturne dediščine – skozi prizmo razvoja turizma. Zanimalo nas je, kdo so ključni akterji, kakšni so odnosi med njimi in kakšni trendi na področju digitalizacije kulturne dediščine z namenom razvoja turizma; vse skupaj tudi skozi prizmo odziva na pandemijo korona virusa, kar je hkrati pred-stavljalo aktualizacijo raziskave glede na razmere, ob enem pa tudi ključno omejitev zaradi relativno slabega odziva. Ugotovljeno je bilo, da večina lokacij UNESCO vrednot uporablja tehnološko relativno manj zahtevne rešitve, katerih ni nadgrajevala v času pandemije; več pozornosti je bilo v tem času s strani upravljavcev izbrane dediščine namenjene inovativnim spletnim rešitvam. Te so bile ustvarjene tako s pomočjo specializiranih IT podjetij in strokovnjakov (tudi iz kreativnih in kulturnih industrij) kot brezplačnih/nizkocenovnih spletnih rešitev za podporo produktom, financirane iz raznolikih (v največji meri javnih) virov in ponujene v uporabo med pandemijo večinoma brezplačno. Delež spletnih obiskovalcev UNESCO vrednot se je v povprečju le minimalno povečal, bistveno pa je upadel na lokacijah samih. Izstopa potreba (in želja) po več sredstvih, znanja in povezovanja na področju digitalizacije dediščinskih vsebin.
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