TT MBA SEC-A

FILM AND TOURISM

INDUSTRY
Academic interest in this new type of tourism

AJMAL N K(08)
KESHAV RAJ RATHORE(48)
KUNAL RANGARE(53)
MAHAVIR SINGH BHATI(55)

03 October 2018

SUBMITTED TO
Dr. JEET DOGRA
FINDING THE OPPORTUNITIES FOR FILM AND TOURISM INDUSTRY
COLLABORATION
INTRODUCTION
Film has a vital role in promoting or marketing a tourist destination and the
number of people visiting a tourist destination influenced by a movie or a
video has increased in the last few decades. Indeed film tourism is defined as a
tourist’s visit to a destination or attraction as results of the destinations being
featured on television, video, or the cinema screen. So placing a particular
destination in a movie or cinema always helps the tourism industry that it
influences the viewers and as a result of watching the movie they visit the
same destination and it ultimately contributes to the country's economy. In
fact placing a destination in a movie has an important role in attracting people
into a particular destination. According to Morgan and Pritchard (1998) placing
a destination in a film is the ultimate in tourist product placement. Also some
researchers have found that a simple visual placement in the background can
be as effective as a highly integrated placement (Russell, 2002).
However films' role in influencing people or attracting the public into a
particular destination is inevitable as the number of people visiting a
destination after watching a movie has increased over the years. Indeed in an
increasingly competitive and crowded market place destination placement in
film and television shows is an attracting market vehicle that increases
awareness, enhances destination image and results in significant increases in
tourism numbers succeeding where traditional marketing effort cannot. Even
though films are not generally produced with the intent to attract tourists to a
destination but tend to influence viewers indirectly as a background part of the
movie's message (Butler, 1990). At this juncture this paper is mainly focusing
on how effectively a destination can be promoted through a movie or a
television show and will try to justify with various examples from different
success stories/movies and will try to analyze the economic benefits of the film
tourism. Countries like the USA, European countries, Australia, Qatar, and New
Zealand have an increasing interest in studying and developing film-induced
tourism.

Key words: Film tourism, film induced tourism, destination marketing, tourism marketing
STATEMENT
Within the last decade film (screen)-induced tourism has gained increasing
attention from academics and the industry alike. While most research has
focused on the tourism-inducing effects of film productions, not much has
been written about the film location tourists themselves.

PURPOSE
This paper has as a main objective the attempt to identify the dimension of
academic interest in this new type of tourism and to be aware of the
consequences of this kind of touristic activities. The research method is mainly
based on secondary sources.

QUESTIONS
• What kinds of film/television programs successfully convert audiences into
tourists?
• How long does this effect last – only as long as the film/program is popular,
or does it have a more permanent impact on tourism?
• Which locations benefit from the tourism effect? The shooting locations or
associated sites ?
• How can screen tourism be effectively encouraged and managed in a
strategic, joined-up manner?
•What should be considered best practice for film and tourism professionals
working together?

LITERATURE REVIEW
While there is a substantial amount of literature on screen-induced tourism,
there has been very few, if any, comprehensive and national-level reviews of
the economic impact of screen-induced tourism to date. The existing literature
typically falls into one of four main categories. These are as follows:

1. Journalistic
2. Local reports
3. Other reports
4. Academic papers and publications
5. News web pages
FINDING
The main ideas interesting for us are the following:
• It has been widely recognized in tourism literature that destination image
greatly influences tourist destination choice.
• The more favorable the image of the destination, the greater the likelihood
of being selected as a destination choice.
• Film can provide knowledge of certain aspects of the country such as nature,
culture and people which result in the construction of the attitudes towards
the country.
One of the major economic benefits of film induced tourism is that it can bring
higher revenues to the local community. Film-induced tourism has the
potential to revitalize rural communities and increase tourism in urban centers.
The visitors of film locations wish on-site experience which can tell them an
emotional story.
Recent researches suggest that films can have a strong influence not only on
decision making for short-term holiday, but affect tourism revenues and
long-term prosperity of destinations.
The film-induced tourism’s growing popularity is mainly due to increasing
international travel and to entertainment industry development. Schofield
(1996) stated that film-induced tourism will quickly become a fashion, because
the public is very interested to have real experiences where movies are made.
When people seek a touristic objective seen on screen, it means that we are
dealing with film-induced tourism (Busby & Klug, 2001).

TOURISM AND CREATIVITY

Serious interest in film as a creative industry the State of Qatar launched The
Doha Film Institute (DFI) for a variety of strategic reasons such as building
creative industries capacity and local film talent, and establishing film
production in the country. H.E. Sheikha Al-Mayassa bint Hamad bin Khalifa
Al-Thani spearheaded the initial development of DFI as a state-supported
cultural organization.
Films like – Hawi(2010), where do we go now? (2011), black gold (day of the
falcon) was the first major feature-length film project with which DFI became
involved in 2011. ​In 2017, the film The Salesman ​directed by the Iranian Ashgar
Farhadi and co-financed by DFI won an Oscar Award for Best Foreign Language
Film.
Qatar is making small incremental steps in diversifying its economy through
tourism strategies which include creative industries. Creative industry
development has taken a two-pronged path to preserve Qatar’s unique Gulf
heritage as well as develop a modern arts scene incorporating western art
forms such as film.

(Source-ToSEE – Tourism in Southern and Eastern Europe, Vol. 4, pp. 645-655, 2017
A. S. Weber: CREATIVE INDUSTRIES TOURISM IN QATAR: ECONOMY DIVERSIFICATION)

FILM TOURISM SUCCESS STORIES

Despite the growing body of research relating to film tourism, no attempt has
been made to identify the critical factors behind this fast-growing
phenomenon. The suggestions is that film tourism will depend on the
following five factors: destination marketing activities, destination attributes,
film-specific factors, film commission and government efforts, and location
feasibility. Despite suggestions that destination marketers have neglected this
very effective form of publicity (Cohen 1986), a review of the secondary
research related to film tourism suggests that some destinations have
leveraged the visibility that films provide and benefited by showing a
significant rise in visitor numbers following a film’s release.

Marketing activities after releasing

During and after release of a film, media attention can be attracted to the film
location. The Tourism Authority of Thailand (TAT), for example, heavily
advertised its attractions during the release of the film ​The Beach (​ Grihault
2003).
The marketing campaign included a substantial amount of joint activity with
20th Century Fox and aimed to capitalize on the expected further popularity of
Thai beaches in the wake of the film. In addition to advertising heavily in
cinemas,
TAT sent United Kingdom journalists and travel agents on familiarization trips,
and awareness campaigns included financing a holiday prize on a BBC
television game show with a quiz themed around ​The Beach.

Exploiting film marketing opportunities

- Destination marketing : before and after, involvement, sponsor the film
- Destination attribute : scenery, backdrop, awareness
- Film commissions & government efforts : lobbying, tax break, active
promotion
- Location : resources, cost, labor, expertise
- And Film tourism
METHODOLOGY
An online survey was developed to achieve the research objectives.
Researchers are still experimenting with online surveys, and there are no
conclusive guidelines on the strengths and weaknesses of online research.
Comparative studies have shown that online surveys result in higher response
rates and are cheaper to administer, especially for larger sample sizes (Dillman
2000; Cobanoglu, Warde, and Moreo 2001; Yun 2000), even if initial costs are
higher than other survey methods.

The online survey was divided into five sections. The first part asked
respondents to indicate on a Likert-type scale of 1 to 5 how important each of
the marketing activities for generating film tourism. Secondly, they were asked
to comment on their degree of success in attracting film tourists, how much
they spent on the marketing efforts, and whether they had seen an increase in
visitor numbers as a result of their efforts in promoting film tourism. If they did
not make an effort to develop film tourism, they were asked why. The third
part asked respondents to indicate how important they perceived the other
factors were for the success of film tourism, and part 4 of the questionnaire
inquired about their perceptions of the relative benefits and drawbacks of film
tourism, the list developed from previous research referred to earlier in this
article. The last section collected details about the characteristics of the
respondents and their DMOs. ​An e-mail address list of 490 DMOs worldwide
that had attracted film tourists in the past was compiled from a variety of
secondary sources, including the ​The Worldwide ​Guide to Movie Locations ​by
Tony Reeves, 10 copies of 392 MAY 2006 which were used as incentives for
DMOs to complete the survey. The survey was live for 2 months, and two
follow-up emails were sent during this time to encourage respondents to
complete the survey. In total, 140 useable responses were
collected, giving a response rate of 28%. The data were analyzed using SPSS for
Windows.

Responding DMOs were mainly from the United States (37%), Canada (30%),
and the United Kingdom (18%). The remaining 15% were from other countries
around the world. Nearly all the respondents (96%) indicated that they could
be more proactive with film tourism, with the main constraint being a lack of
resources. However, 60% said they had seen an increase in visitor numbers
because of their efforts to promote film tourism, with the majority of these
DMOs (78%) collaborating with film offices. Of those that had seen an increase
in film tourists, only 18% measured the impacts of film tourism at their
destination.

IMPLICATION
The results indicate that some marketing activities are significantly more
successful than others in attracting film tourists. Targeting filmmakers
proactively is clearly important at the preproduction stage, and in particular,
appointing a public relations firm and being involved in location scouting. This
supports a recent government report in New Zealand sponsored by the film
industry that suggested that getting on board at the outset of a film production
is crucial for destinations (New Zealand Institute of Economic Research 2002).
The report said the ability to recognize promotional opportunities and act in
anticipation of demand is critical to maximizing benefits. Hiring a public
relations agency such as Weber Shandwick, which has a Destination:
Entertainment Marketing program is one option. Another is to offer
Hollywood or producers’ tours, which have been very successful for some
destinations. Such sales-focused initiatives should be conducted by DMOs on a
regular basis.
​ ol. 44, May 2006, 387–396
(Source- Journal of Travel Research, V
DOI: 10.1177/0047287506286720
© 2006 Sage Publications)

Think of it!!
South Africa’s special appearance in the film “cocktail” has already seen a
surge in enquiry by 10% for South African tourism within just a month of the
film’s release. Considering the demand for location in South Africa post
–cocktail, the tourism board of South Africa has tied up with seven Hindi film
production houses. South Africa tourism sees Bollywood as an effective way to
compensate for the lack of a high budget to promote tourism. Hanneli slabber,
country head, South African tourism, said A company from south Africa will
jointly promote the seven movies along with the production houses in India.
(Source- public news papers)
Popular movies can increase tourism to the film’s location between
25%-300%
(Source- championtraveler.com)

According to this website, It seems pretty obvious that a popular movie can
increase tourism to the film’s location, So while we weren’t surprised to find
data proving this, we were impressed just by how much it can increase. When
we totaled up all the publicly available data, we found that on average, a
popular movie increases tourism to the featured location by 31%.

After an analysis on 100 popular films with locations where people could travel
to see the film’s location (think ​Lord of the Rings,​ less ​Interstellar)​ , and pulled
data on tourism trends. Where data was publicly available, we found some
shocking numbers suggesting that a popular film can increase tourism to a
prominent location in the movie anywhere between 25-300%. There is also
research that suggests that this “burst” tourism is a great way to revitalize a
country’s local economy over several years, as the tourism remains fairly
consistent between three and four years.

How much do specific movies affect tourism?

Here are some of the more interesting examples we found:

Films Location Impact of visitor number

HARRY POTTER ENGLAND 50% INCREASE
FROZEN NORWAY 37% INCREASE
THE BEACH THAILAND 300% INCREASE
MISSION IMPOSSIBLE 2 SYDNEY NATIONAL PARK 200% INCREASE
TROY TURKEY 73% INCREASE
BRAVE HEART SCOTLAND 300% INCREASE
PRIDE AND PREJUDICE LYME PARK,ENGLAND 150% INCREASE
LORD OF THE RINGS AND NEW ZEALAND 10% INCREASE
THE HOBBIT
PERCY JACKSON GREECE 25% INCREASE
FROZEN NORWAY 17% INCREASE
(Source- championtraveler.com, DECCAN chronicle Feb, 2016)

The one thing that was hard to report was whether or not a movie that takes
place at an already popular destination, if there’s a noticeable increase. For
example, ​Gladiator​ is said to have inspired people to visit Rome, and ​The
Hangover ​inspired a Vegas travel surge, already two of the most commonly
visited cities in the world. Did the movies increase the overall tourism metric at
all? Or was it just a blip on the map. Unfortunately there isn’t much data
publicly available to prove this one way or the other.

How sustainable is movie tourism?

Academic research points out that “​movie induced tourism​” can be great for
local economies, and not only in the short term. As the research by Riley,
Baker, and Van Doren suggests, this tourism spike can last between three and
four years for most popular films​.
It also turns out that having a film feature a city or tourist destination can be
one of the most effective methods of marketing to potential tourists. A state,
city, or town running advertising encouraging tourism, while proven to drive
up some amount of new visitations, barely touches the viral effect of a movie
profiling a location in a unique way. With this context, it makes sense why
governments offer incentives for filmmakers to create a movie set in their
country, as not only does it bring jobs, it also brings tourism in lasting form.
Another significant benefit of film tourism is that it increases the cultural value
for the film location. Many heritage sites that serve as film locations gain fame
after the film release because these places obtain specific meaning through
film narration. Without film storylines, a castle or a stately home may not be
distinguishable from others. Film can augment the destination image and
increase the awareness of the host city. Previous research (Kim & Richardson,
2003) suggests that those who are exposed to the film have a more favorable
destination image towards destinations featured through films than those who
are not exposed to films. Television series are even more influential since they
can constantly emphasize the appeal of the destination that builds top-of the
mind awareness.

But the impact of film-induced tourism is not only positive. There are several
consequences that have to be carefully analyzed and, as it could be possible,
reduced. For instance, crowding and environmental impact are, maybe, the
most undesirable negative impact of film-induced tourism. Other negative
consequences could be exploitation of the local population and increased
prices.
 PRODUCTION INCENTIVES
(Source-NO FILM SCHOOL)

No Film School is the leading worldwide community of filmmakers, video

producers, and independent creative’s. ​No Film School is where filmmakers
learn from ​each other​ — “no film school” required.
Filming a movie internationally has more benefits than merely exotic locales. In
an effort to create jobs and stimulate local economies, many countries
worldwide essentially pay productions to shoot within their borders. These
production incentives vary significantly in structure and scope from country to
country, but the end goal is universal: a symbiotic financial relationship
between the country and foreign film productions. For a film with limited
resources, shooting abroad could be just the ticket.
There are, of course, caveats to consider when comparing incentives. Each
country stipulates a unique set of requirements, but the main issues to flag are
the minimum amount of qualifying local expenditure (which can be high), local
employment regulations, and whether or not the country requires the film to
pass a cultural eligibility test.
International production incentives should not be confused
with ​co-productions​, which are multi-country productions that operate based
on government treaties.
Here are the most common forms of incentives:

o Cash rebates function similarly to grants and are paid to the production
company in percentages based on qualifying local
expenditures, including labor, production costs, and other services
o Tax incentives are similar to rebates, but the production company must file a
tax return to claim the funds. In turn, the company will receive a credit for
taxes owed on qualifying local expenditures, including labor, production costs,
and other services
o National or regional film funds are limited government-sponsored grants for
which a production must specifically apply
o Tax shelters, relief, or waivers allow investors tax breaks on their investments

Below, we've broken down the world's most attractive production incentives
by continent. Based on our research, you should start thinking seriously about
setting your next film in Colombia (60% cash rebate), Fiji (50% cash rebate), or
Canada (30% to 70% tax credits).
MOVIES AS A TOOL OF MODERN TOURIST MARKETING
(Source-TOURISMOS: AN INTERNATIONAL MULTIDISCIPLINARY JOURNAL OF TOURISM Volume 6,
Number 2, Autumn 2011)

The contemporary tourist market hosts intense competition amongst countries

and particularly amongst those that their economy is supported, to a rather
critical extent, by tourism business. All countries try to promote their tourist
products using various marketing techniques. International experience reveals
that movies constitute an important marketing tool which can effectively serve
the strategy for promotion of tourism destinations. Landscapes, significant
heritage sites, festivals, attractions and historical monuments have quite often
been selected as film shooting locations. Evidence shows that such films may,
under certain circumstances, induce “film tourism”, a phenomenon where
local economies eventually enjoy an increase in visitor numbers and related
benefits after the circulation of the relevant movie.

DESTINATION IMAGE FORMATION

According to Butler (1990), people often choose their tourist destination
depending on what they have seen at popular audiovisual means, like
television and cinema. The process of the influence caused by the image can
be voluntary, involuntary, accidental, conscious or unconscious. He also
suggests that as lately people read less, anything appearing in films and in
television penetrates easier into society. According to Gartner (1993), the
process of shaping a destination image is constituted by eight different factors.
Specific weight is set on the role of autonomous factors like “the news” and
“the popular culture”. Ten years later Hyounggon and Richardson (2003), point
out that in contrast to the elitist or fringe culture, which influences a small
percentage of population, the popular culture strengthens and reflects models
of communication and consumption for the wider general public. The movies
are an important fragment of popular culture. They can ensure essential
information on a destination, in a short time and to many persons. As regards
the role of popular culture in shaping a “destination image” in the framework
of tourism, Urry (2002) claims that one of the basic reasons that motivate
tourists to visit a location, are the expectations that these people may live
different experiences from what they would live in their home location. These
expectations are cultivated with tourism attraction practices like films,
television, literature, magazines and videos. Relevantly, Morgan and Pritchard
(1998) point out that the force of manufactured reality promotes the
sovereignty of senses on the objective reality. “Product placement” is a
method of marketing and has been defined as the planned entry of products
into movies or television shows, with the purpose to influence the spectators’
view, beliefs or behaviours. Schofield (1996) suggests that modern tourists
shape “destination images” through consumption of films and movies in
television, without the prejudice that these are promotional material. Morgan
and Pritchard (1998), suggest that a destination placement in a film is the
ultimate in tourism product placement. Finally, Russell (2002) found after
research that the product placement in a film setting and the consequent
viewing by the public is very effective as a promotional method for a
destination. It seems therefore plausible that while traditional advertising
techniques have realized diminishing effectiveness, communication via product
placement is better targeted, more sophisticated and more widely received.
Some pieces of research show the effect on tourism of destinations in
relation with their placement into movies. Riley, Baker and Van Doren, (1998)
after research that they carried out for the cases of 12 films, observed that
the film location drew the greatest attention when the film was released.
However an increase of visitors of 54% occurred for at least five years after
the release of the film. Thus, one important economic advantage stemming
as a result from the reviewed literature is that the film tourism has duration
in time and can continue bringing visitors to a destination for several years
after the first screening. Another advantage is that film tourism reduces the
problem of seasonal tourism. Film locations usually have attractions and
sights that are accessible and draw the interest of visitors at any time and at
all seasons. To conclude, the power of film and television is revealed in
contributing to the formation of the image of a destination, in stimulating
tourism demand and in facilitating the positioning and segmentation
elements of the local marketing strategies.

THE ROLE OF DESTINATION TOURISM ORGANISATIONS

In the modern worldwide tourist reality the tourist growth is accompanied by
the need for more rational, more coordinated and more efficient
management of resources that contribute to the formation of tourist
products. The complexity and the multi-disciplined substance of the tourism
sector, diffuses the allocation of benefits in a big number of other involved
sectors. The penetration of the “product”, i.e. a tourist destination, in the
tourist markets is difficult and the cost of the promotion is high (Stylidis et al.,
2008; Machlouzarides, 2010). The benefits for a private enterprise would be
dispersed and vague and thus emerges the necessity for public institutions to
involve – or undertake- the destination tourist marketing. Local Destination
Marketing Organisations (DMOs) strive to develop adequate marketing
strategies for the efficient promotion of tourist destinations. Their task is to
suggest marketing opportunities and to stimulate and support the
development of the proper climate for exploitation of these opportunities.
The World Tourism Organization groups the various DMOs, that are
responsible for managing the marketing efforts of their destinations, in the
following categories: National Tourism Authorities or Organisations, which
are responsible for management and marketing of tourism at national level,
regional, prefectural or provincial DMOs, and local DMOs which are
responsible for management and/or marketing of tourism in smaller
geographic area or city/town. The structure and the status of DMOs set-up
differ from country to country, as offices, unions, services, committees,
departments, councils, ministries, etc. Depending on the pattern of
administrative set-up, they can be distinguished according to their
operations, their targets and their means of financing. This relates to the
centralised or decentralizing character of the administrative mechanism of
each country, as well as to the importance that tourism has for the country’s
economic growth . Today a tendency of increase in the number of DMOs is
observed internationally, which implies that the necessity of their existence is
recognized, as well as the positive contribution of their work in the
promotion of destinations. Today DMOs play a main role for each tourist
destination mainly because they are considered as official, unbiased and
complete source of information. They also possess and control the
"commercial brand name" of the destination. Finally DMOs have the
possibility of offering a wide spectrum of services and support to the
consumers, while they maintain particularly close relations with the suppliers
of the tourist product.

SPECIFICATION OF STRATEGY AND FACTORS OF SUCCESS

Due to the development of new destinations, specific branding strategies and
the fracturing process of mass tourism, many DMOs shift their marketing
emphasis away from promoting generic tourism activities of escape,
enjoyment, sightseeing and shopping, to tourism of special interests. Film
tourism appears to be a part of the game. The challenge for DMO’s is to
efficiently create and utilise film induced tourism, including product
development and presentation as well as the follow-up implications of
destination marketing and branding. Hudson and Ritchie (2006) after
research in 490 DMOs worldwide, found that almost all organisations have to
work with marginally sufficient economic and human resources and can only
difficulty keep pace with the necessities of innovative strategies of publicity.
They also found that the investment of money in the promotion of film
tourism includes risk, because there is no guarantee for a positive outcome.
More specifically 60% of the sample answered that they observed an increase
in the number of visitors because of their efforts to develop film tourism,
while some 78% developed collaboration with film producers. The basic
profits that were reported were: the strengthening of the image (brand) of
the destination, the increase of the number of tourists and the positive
economic effects, however not measured systematically. From those that
have replied to the survey, very few reported problems in their region due to
film tourism. Finally, Hudson and Ritchie, propose a plan of 31 marketing
activities, ranked by importance, proposed to be undertaken by the
Destination Marketing Organisms (DMO), before and after the film release, in
order to maximize the profits of film tourism. Olsberg-SPI carried out a survey
on behalf of the UK Film Council, Scottish Screen, EM Media, Screen East,
South West Screen, Film London, the DMO of East Midlands Tourism and Visit
London. They examined 31 case studies and selected 9 cases as points of
reference. There, the cinematographic tourism was handled with success in
the respective regions. The researchers’ main target was to describe the type
of cinematographic films and television series that cause the development of
film tourism in a region. Further on, to identify the strategies required to be
applied in Great Britain, to maximize the economic profits by the
cinematographic tourism. Literature shows that the promotional activities
stem mainly from public tourist institutions or private tourist enterprises or in
collaboration of both. Their aim is to stir-up tourist interest with a lengthy
cinematographic product life cycle (pre-release acts, premiere, DVD release,
and after), as well as to inform tourists for the film locations. Of particular
importance is the ability of DMOs to negotiate with the film producing
companies, aiming to attract the shooting of films in their own regions, and
also to negotiate about what the region will acquire from the producers as a
benefit. In the above context, several DMOs hire experts of public
relationships in order to promote their region in the cinematographic studios.
Canada and the Bahamas, for example, have engaged Weber Shandwick, one
from the most important personalities in public relationships in the world, in
order to achieve their region’s maximum possible appearance in films.
Chicago's Office of Film and Entertainment Industries, has successfully
increased the number of films that were shooting in Chicago by engaging an
expert in product placement. After the terrorist act of 11th September the
local organisation of tourism of New York used personalities of sports, movie
stars and also the ex-Mayor Rudolf Giuliani for the reinforcement of tourism
in the city. At the same time, the respective organisation of Washington used
the leading stars of television series "The West Thing" that unfolds in the
capital and has relation with life around the White House and the Capitol,
aiming the reinforcement of tourist visits.

The Department for Tourism and Travelling Development of Kansas allocates

annually 1.2 million dollars for the tourist promotion of the State as a film
location. The Ministry of Tourism of Singapore (Singapore Tourism Board), in
2004 announced a three-year plan of an expense of 7 million dollars in order
to attract international film producers. The National Council of Tourism of
Australia invested some 40 million dollars in an international advertising
campaign based on the film "Australia", showing the wild beauty of Western
Australia, The Organisation of Tourism of Australia, appreciates that the
campaign "See the movie - see the country", in combination with other
promotional activities, will act as catalysts in motivating tourists to visit the
country and also in intensifying internal tourism. The particular campaign has
been the second high budget campaign in national level. The first concerned
in the trilogy of "Lord of the Rings" and the destination New Zealand. The
strategy of DMOs as regards the negotiations with the film companies is
important. It depends on what the destinations can offer so as to have the
opportunity to control which destination sites will appear in the movie. Also
to foresee for other profits that may originate from the premiere and the
distribution of film. The implementation of a strategy in attracting film
producers is more effective in the –early- stage of planning the production of
film. It is important for the DMOs to establish an efficient public relations
department or to assign an independent public relations company in order to
strongly promote the destination as the best location for film shooting.
Finally, an important factor is always the budget that is committed to this
aim.

CONCLUSION
The image that we construct for a country is often the sentimental image that
has been created in our minds from narrations of other persons, from books
and, to a large extent, from watching films that have been shot in the country,
utilizing the natural and built environment, the history, certain types of
residents etc, for the plot of the script.. Cinema systematically functions as a
means of escape from the everyday routine and this characteristic is in
common with tourism.
Precisely for this reason, many times, our choice for our vacation destination is
a place about which we have shaped a concrete sentimental image. Most of us
have combined the essence of romanticism with the city of Paris because big
studios have used Paris as the setting for a lot of romantic comedies. This
process leads the spectator to identify himself among the heroes of film and
unconsciously to want to experience a piece of the plot and thus to seek to be
in the corresponding environment. Cinema develops characters, while an
advertising tourist spot tries to pass a message. The difference in the
sentimental memory of the spectator is very important. A spot can be shown
many times during a period, however after the campaign it seldom remains in
the spectator’s memory.
In contrast, the cinematographic film has a long-lasting effect because it
approaches the spectator satisfying his aesthetic preferences and his
sentimental or ideological concerns. Thus the spectator has the tendency to
come back to this. is The purchase of the soundtrack and the again and again
watching of film in video or DVD is characteristic of the trend. This process
adds-in specific value for the tourist development of a region.
It is important for the local and national Organizations of Tourism, the tourist
policy makers, to work out studies for the long term tourist utilization of
cinematographic films that have been shot in their regions.
The incorporation into the recognizable local tourist product strengthens the
uniqueness of the destination, strengthening its brand name and tourist
attractiveness. The cinematographic tourism is a very powerful tool of tourist
marketing and requires careful strategy planning by the Destinations
Marketing Organizations. Finally, concern should be given to support the
locations aiming to experience increased tourist in-flows with adequate
infrastructure and services.

This article has shown that in an increasingly competitive and crowded market
place, destination placement in films and TV shows is an attractive marketing
vehicle that increases awareness, enhances destination image, and results in
significant increases in tourism numbers, succeeding where traditional
marketing efforts cannot. Film tourism offers destinations the opportunity to
generate significant incremental revenue, tourist visits, and economic
development. Based on a thorough literature review and an international
survey of destinations worldwide, this article has provided valuable insight into
this relatively new phenomenon.

REFERENCES

1. Arthur Frommer’s Budget Travel Magazine (​ 2004). “The 25 Movies that Literally Moved Us.” 7
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