Blame it on Hollywood: The influence of films on Paris as product location

Abstract

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Films and Destinations—Towards a Film Destination: A Review

“…Films and TV series continually show the places, streets, and cities where they are located. They have the capacity to help us imagine a destination, and they help the individual in the formation of a destination image according to the information perceived from these media [7,16,51]. This has always been possible, but it is in recent decades that destinations have realised the power of media and they have decided to use them to attract tourists [7,[52][53][54].…”

“…The relationship between film and tourism is clear [91], and the importance that tourism agencies give to films and series as a marketing tool and a means of attracting tourists to the destination is growing [7,[52][53][54]. We cannot ignore the fact that cinema is a very effective tool for changing the image that individuals have of a destination [7,16,51]. Therefore, it is extremely important that the destination has a marketing plan regarding the use of film tourism [52].…”

The Downton Abbey Effect in Film-Induced Tourism: An Empirical Examination of TV Drama-Induced Tourism Motivation at Heritage Attractions

“…Literature covering psychology, media, and communications assists in understanding the emotional experience of viewing a film or a television drama. A variety of components embedded within a television drama, which not only include an interesting plot and characters, but also a complex arrangement of narratives, iconic features, special effects, and soundtracks, create an emotional experience attractiveness, and profitability of destinations (Riley, Baker, & van Doren, 1998), as well as improve destination image (Gkritzali, Lampel, & Wiertz, 2016). In contrast to hallmark events, which are usually one-off occurrences, motion pictures have relatively long exposure periods of destinations because they are usually released in different mediums, such as cinemas and television (S. Kim, Long, & Robinson, 2009).…”

“…This affective bond between viewers and a place through shared meanings was termed "topophilia" by Tuan (1974). As with a film, television drama can provide knowledge of a country or region in terms of its nature and culture, which leads to the construction and changes in perceptions of the place (Gkritzali et al, 2016).…”

Learning from the professionals: film tourists’ “authentic” experiences on a film studio tour

“…Furthermore, early film tourism studies (Riley and van Doren, 1992;Schofield, 1996;Tooke and Baker, 1996) have looked primarily at what potential the either accidental or deliberate 'product placement' of cities and landscapes in films may have for the marketing of tourist destinations. Soon, however, the scholarly discourse moved towards a more critical discussion about the economic, social and cultural implications that such film-induced tourism (Connell, 2005;Connell and Meyer, 2009;Hahm and Wang, 2011) or consumers' experiences with film-induced images (Gkritzali et al, 2016;Tzanelli, 2007;Zhang et al, 2016) may have on those affected locations and local communities. From here, it does not take much extrapolation to see why the issue of authenticity and the authentic tourist or visitor experience (Goulding, 1999(Goulding, , 2000Hede et al, 2014;Hede and Thyne, 2010) has caught the attention of critical scholars in arts marketing, film tourism and consumer research as well.…”