Tourist Encounters

2018

This thesis analyses the representation of Wellington in tourism films between 1912, the year in which the first New Zealand tourism film depicting Wellington was released, until 2017, the production year of the last case study. It also aims to trace both the dynamics of formal, stylistic and narrative development and the contexts of circulation of New Zealand tourism film. This thesis relies on the textual analysis of case studies conceived for different distribution platforms, selected according to their stylistic, formal, thematic and narrative relevance and to the availability of related archival documents; on the analysis of archival material related to New Zealand film production; on interviews with key informants involved in local tourism film production and tourism marketing; on the analysis of scholarly sources. This research argues that the depiction of Wellington has been regularly underpinned by a set of economic, social and political factors that changed throughout time...

Tourist Studies, 2004

Film induced tourism has recently gained increased attention in the academic literature and by the tourism industry. Increasingly aware of the high international profile films get and create, Tourism New Zealand (TNZ) very quickly developed promotional material aligned with The Lord of the Rings (LOTR) trilogy for the films' international releases. Utilising the organic images of the films, and complementing this with induced images in advertising and the TNZ tourist website, 100% Pure New Zealand, TNZ hoped for the explicit link to be drawn between the scenes in LOTR and New Zealand. TNZ commissioned NFO New Zealand to undertake research to identify the actual Post Production Effects (PPE) of the films on New Zealand's international tourism image, and more specifically the impact on awareness, motivations and behaviour. The results indicate a small impact of the films on tourist behaviour (1%).

Tourism can influence and change a community, and when it is unplanned, as often is the case with incidental tourism such as film-induced tourism, such changes are rarely considered. This paper looks at the changes that film-induced tourism (in the guise of a popular TV series, Sea Change) made to the seaside village of Barwon Heads in Australia. The attitudes of residents and regular visitors towards the influence of film-induced tourism and its relationship with 'reality' are discussed as well as the actual physical changes to the town.

induced tourism is increasingly popular in the United States and globally. Scholars have tended to emphasize the effect of movies and television in forming the image of tourist destinations and thus influencing traveler motivation and experience. In this article, we shift discussion of film tourism beyond simply place image formation to consider it in the broader context of place-making. Such a perspective offers a fuller recognition of the material, social, and symbolic effects and practices that underlie the construction of film tourism destinations and their place identities as well as the ideologies, power relations and inequalities that become inscribed into the place transformation process. We focus on film tourism in Mount Airy, North Carolina, the birth place of television actor Andy Griffith, and delve into the remaking of his home town into a simulated version of Mayberry. Griffith popularized the fictional town of Mayberry in his 1960s television series and it continues to resonate with fans of the show. Mount Airy is marketed to visitors as the ''real life Mayberry,'' despite what Griffith has said to the contrary, and the city hosts an annual Mayberry Days Festival, which we visited and photographed in 2010. A preliminary interpretation is offered of the landscape changes, bodily performances, and social tensions and contradictions associated with the remaking of Mount Airy into Mayberry. We also as-sert the need to address the social responsibility and sustainability of this transformation, particularly in light of the competing senses of place in Mount Airy, generational and racial changes in the travel market, and the way in which African Americans are potentially marginalized in this conflation of the ''real'' and the ''reel.'' El turismo inducido por el cine es cada vez más popular en los Estados Unidos y el mundo. Los académicos han tendido a enfatizar el efecto de las películas y la televisión en la formación de la imagen de los destinos turísticos, los cuales influyen en la motivación y la experiencia de viajero. En este artículo, movemos la discusión sobre el turismo de cine más allá de simplemente la formación de imágenes de lugares para considerar en el contexto más amplio la formación de lugares. Tal perspectiva ofrece un reconocimiento más completo de los efectos y prácticas materiales, sociales, y simbólicas que subyace la construcción de los destinos turísticos de cine y sus identidades de lugar, así como las ideologías, las relaciones de poder y las desigualdades que se inscriben en el proceso de transformación de lugares. Nos centramos en el turismo de cine en Mount Airy, Carolina del Norte, el lugar de nacimiento del actor de televisión Andy Griffith, y profundizamos en la reconstrucción de su ciudad natal en una versión simulada de May-Film-Induced Tourism in Mount Airy, North Carolina 213 berry. Griffith popularizó la ciudad ficticia de Mayberry en su serie de televisión de 1960, quién continua resonando entre los fans de la serie. Mount Airy se comercializa a los visitantes como ''el Mayberry de la vida real,'' a pesar de que Griffith ha dicho lo contrario, y la ciudad organiza anualmente el Festival de los Tiempos de Mayberry, el cual hemos visitado y fotografiado en 2010. Una interpretación preliminar se ofrece de los cambios en el paisaje, comportamientos corporales, y las tensiones y contradicciones sociales asociadas con la reconstrucción de Mount Airy en Mayberry. También afirmamos la necesidad de abordar la responsabilidad social y la sostenibilidad de esta transformación, especialmente en términos de los sentidos de lugar en competencia en Mount Airy, cambios generacionales y raciales en el mercado de viajes, y la forma en que los afroamericanos son potencialmente marginados en esta fusión de lo

This article examines the discursive circulation of stories in journalism and travel writing over the last fifty years that linked leading Western Samoan hotelier Aggie Grey to South Pacific's iconic Tonkinese, Bloody Mary. Made famous by Juanita Hall in the Broadway musical (1949)(1950)(1951)(1952)(1953)(1954), and subsequent cinematic adaptation (Joshua Logan, 1958), Bloody Mary first appeared in James Michener's Pulitzer Prize-winning Tales of the South Pacific (written 1944-1946, published 1947). The careful marketing and growth of the Aggie Grey brand both before and after her death in 1988, exemplifies the close economic relationship between the development of tourism in Samoa in the post-war years and the American film and celebrity industries, with the hotel in Apia providing accommodation, logistical and catering support to Hollywood productions and film stars from William Holden to Marlon Brando. My examination of an origin myth linking a charismatic historical figure with an iconic fictional character is undertaken not to ultimately suggest any one-to-one relationship between the two, but rather to demonstrate a remarkable persistence of a Pacific romanticism. In what I name as the optics of tourism I join with earlier scholars in suggesting that we must be more attuned to accounting for the affective power of visual media and the ways in which Hollywood plays a continuing complex role in cultural memory, tourism and popular culture.

Mediating the Tourist Experience, 2016

Studies in Australasian Cinema, 2019

Since the beginning of the Twentieth Century tourism films have constituted a significant part of New Zealand film production. In fact, films made and/or used for tourism promotion have been released for domestic and overseas circulation by both government-led and private film production companies. Over the last 10 years the institutions in charge of Wellington tourism marketing have been increasingly relying on social media platforms such as Youtube and Facebook to globally circulate images of New Zealand's capital city. Indeed, since 2007, 20 tourism marketing campaigns conceived for social media circulation featured in WellingtonNZ Youtube channel. This article will focus on three of these campaigns: the Vampire's Guide to Vellington (2014); the It's Never Just a Weekend When It's in Wellington series (2014) and the LookSee series (2017). Through the analysis of these case studies, this article argues that contemporary Wellington tourism film production is a complex and multilayered process characterised by the cross-collaboration between local political stakeholders, local creatives and local businesses. Moreover, it highlights how the representation of Wellington as a cinematic and creative city, home of a globalised creative class has been informed by the neoliberal paradigm and by the persistence of a deeply-rooted settler gaze.

2004

Filmic images influence how we see the world and filmic tourists visit places to experience the image they have seen on the screen. New Zealand is an example of a destination that has embraced the relationship between film and tourism. Through its box-office success and the associated tourist promotions, The Lord of the Rings (TLotR) film trilogy has exposed New Zealand’s landscapes to a global audience of potential travellers. This study analyses the landscape portrayal in the first and second film of TLotR and filmic tourists’ experiences of these landscapes. As with many other film tourism destinations, the screen locations are a mix of real landscapes, film sets, and digital enhancements. Thus, the tourist will not necessarily be able to experience the landscapes of the films. This results in implications regarding the sustainability of film tourism and tourism management. The study employed an overall interpretive approach to analyse the landscape portrayal in the films and fil...

Études écossaises, 2021