Conceptualising on-screen tourism destination development

Abstract

This paper integrates cultural theory and marketing strategy to examine the complex relationship between on-screen popular culture and tourism destination place-making. Its review of the literature results in the development of an inter-disciplinary conceptual framework (termed 'on-screen dollying') that provides a culturally-grounded and contextually-driven theorisation of the means by which on-screen popular culture place-making can foster destination development. In developing the conceptual framework, the paper classifies the characteristics of on-screen tourism affecting destination development and identifies six strategies for leveraging on-screen tourism. Based on our inter-disciplinary analysis, we propose a research agenda that integrates on-screen tourism and destination place-making and which has implications for policy and theory.

The Greek Fandom of Turkish Soap Operas and the Tourism Industry: Traveling through Borders, Realities, and Identities

“…Representations of Turkish culture and of women's issues appearing in Turkish soap operas play a significant role in making Istanbul an attractive destination. More precisely, “from a dramatological perspective, on‐screen productions can be analyzed as texts conveying messages that project and/or explain the culture of a destination and its attractive characteristics to outsiders” (Lundberg et al. 6).…”

Place, Peripherality, and Play: Reflections on Film Tourism in Ireland

“…It has previously been suggested that what unites the decidedly local and small‐scale efforts in Cong and its environs to capitalize on film tourism and the considerably more large‐scale activities of Tourism Ireland is a shared emphasis on cinematic authenticity and fan participation. Clearly, the screen fictions in both cases differ, not least because The Quiet Man was set in Ireland, albeit in a fictional town, while The Force Awakens was set in a purely fictional world and was merely filmed on location in Ireland (see Lundberg et al.). Equally, while the entirety of the former was set in Ireland, the latter (and the Last Jedi , which followed it) was only partly filmed in Ireland, although the narrative structure might lead one to reasonably conclude that Ahch‐To is the most important place in the film.…”

Media Tourism and Conflict Heritage in Dubrovnik, Westeros

“…No two films or TV shows are alike, which provides the portrayed destinations with a clear unique sales position” (93). Media tourism is a “dynamic place‐making phenomenon” (Lundberg et al. 94), but many studies of screen tourism conceptualize this placemaking as a struggle between an established real place and a fictional imaginary.…”