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UNDERSTANDING FILM-INDUCED TOURISM

SUE BEETON

School of Sport, Tourism and Hospitality Management, LaTrobe University, Victoria, Australia, 3086

Certain notions become accepted as “truths” by the general public, regardless of their accuracy,
particularly if they are repeated with sufficient regularity by so-called “respected” sources, such as
those in the popular media. The field of tourism is often a witness to this phenomenon. Arguably,
every journalist goes on a holiday of some sort, hence they are all “experts” and often present
anecdotal material as such. This view is particularly the case with the concept of film-induced
tourism. One example is the continual insistence by those in the popular press that the movie
trilogy The Lord of the Rings has dramatically increased tourism visitation to New Zealand. How-
ever, research by Tourism New Zealand, along with the emerging work from academics, does little
to support this. Attempting to bring some balance into the media hype that surrounds film-induced
tourism, this article outlines the extent of film-induced tourism knowledge and current research in
the field. Not only does the article examine tourism to sites depicted in film (movies and television
series), but also the film studios themselves, particularly those with conscious tourism activities
such as theme parks and bookable site tours.

Key words: Film-induced tourism; Movie-induced tourism; Theme parks

Introduction mair (1999) and Klug (Busby & Klug, 2001), little
work builds on these initial studies. However, in-
Prior to the late 1990s, the academic literature terest in this field of study grows in line with
gives little consideration to film-induced tourism. much of the popular media hype and obsession
Then a group of North American academics con- with “celebrity.” Increasing numbers of early ca-
sidered the concept of “movie-induced tourism.” reer academics now address some of the more
This group included Riley, Tooke, Baker, and Van complex issues of film-induced tourism. While not
Doren, who published material in academic jour- an “early career” academic per se, Beeton (2000,
nals such as Annals of Tourism Research and 2001a, 2001b, 2002, 2004a, 2004b, 2005) re-
Tourism Management (see Riley, 1994; Riley, searches this sphere and she is continuing to de-
Baker, & Van Doren, 1998; Riley & Van Doren, velop the field.
1992; Tooke & Baker, 1996). Apart from some The scope of this article includes literature
graduate students’ work such as Cousins (Cousins from the social sciences as well as business and
& Andereck, 1993), Im, Chon, Peters, and Weier- marketing, but is not conclusive; it is rather an

Address correspondence to Sue Beeton, School of Sport, Tourism and Hospitality Management, La Trobe University, Victoria,
Australia, 3086. E-mail: s.beeton@latrobe.edu.au

181
182 BEETON

overview of the academic work that is being done (Goffman, 1974). While this supposes a certain
in this rapidly emerging field of study. The article level of individual autonomy and choice, in many
covers film as a driver of social construction, des- instances popular media has become one of the
tination marketing through film, community rela- primary drivers of social construction. The popu-
tions with film-induced tourism, business re- lar, mass media of the day maintains as well as
sponses to emerging opportunities (including film constructs social reality, no longer simply reflect-
studio theme parks and tours on location), and ing society (Beeton, 2005; Beeton, Bowen, & San-
filmic tourists’ motivation. The article concludes tos, 2005; Saurrette, 1992). This notion of the me-
with some indications of current research through- dia socially constructing reality is in much of the
out the world as well as introducing some of the media studies’ literature on mass media and, in
numerous future research opportunities. particular, television (Lipschultz & Hilt, 2002).
While each culture has an indigenous film and Markwell (2001) acknowledges this and considers
television industry, the reach of Hollywood and the ties between media and social construction in
media organizations such as Fox Media is global. relation to tourism, noting that the visual forms of
Such pervasiveness presents a highly Westernized popular culture have a strong influence on tour-
cultural perspective and social reality to the mil- ists’ ideas and beliefs.
lions who view film and television produced by From the last third of the 20th century, film has
Hollywood and Fox. Because of this pervasive- been the predominant media for accessing the
ness, as well as the cultural background of most mass population, and has played a significant role
current film-induced tourism researchers (espe- in influencing travel, whether that be through fic-
cially in the US, UK, Australia, and New Zealand), tional or nonfictional film (Beeton, 2000, 2001;
the vast majority of work in this field comes from Cohen, 1986; Riley, 1994; Tooke & Baker, 1996).
a Western hegemonic perspective. While this article mentions documentaries and
other filmed-related media, the primary interest is
Social Construction Through Film with fictional media, particularly in movies and
television series.
That individuals give meaning to their lives Commentators such as Hirschman (2000) con-
through their lived experience is a commonly ac- sider the popularity and consequent influence of
cepted maxim. Relevant literature recognizes the film in terms of myth telling. Hirschman (2000)
argument supporting the notion that such meaning states that “the mythic impulse has always en-
comes from an individual’s social construction of thralled the human imagination” (p. 4), setting the
their world. In a study of the mass media’s influ- scene for one potentially powerful motivational el-
ence on risk perceptions, King and Beeton (2005) ement of film-induced tourism. The tales told in
present evidence from the literature of the power movies and on television contain many of the tra-
of the media to influence the way one constructs ditional elements of storytelling through myth,
their own “reality,” citing researchers including such as good versus evil, man and the supernatu-
Saurette (1992), Johnston (1989, 1992), and Jans- ral, and classic morality/cautionary tales.
son (2002).
Even a cursory discussion of social construc-
Film as a Destination Marketing Strategy
tion such as this must acknowledge the contribu-
tion of Peter Berger and Thomas Luckmann, who Dann (1996) supports the premise that the pop-
in their 1966 publication, The Social Construction ular media drives social construction, not the indi-
of Reality, coined the notion of “social construc- vidual, maintaining that certain images of destina-
tion.” They used this term to refer to what they tions are developed for application in the mass
consider as the process of actively constructing media. This brings us to the view that film itself
one’s social world rather than having such mean- plays an active role in social construction and con-
ing imposed (Berger & Luckmann, 1966). In addi- sequently becomes a strong tool for marketing a
tion, social construction relates to the meaning that destination. The power of film as a destination
humans give to their world from a social context marketing tool is becoming reasonably well docu-
 UNDERSTANDING FILM-INDUCED TOURISM 183

mented, and was the basis for the early literature (2004) repeated claims, along with many other
on film-induced tourism from Riley and others in media reports, that the effect of movies such as
the 1990s (see Cousins & Andereck, 1993; Riley The Lord of the Rings on tourism to the destina-
& Van Doren, 1992; Tooke & Baker, 1996). Cases tions in which they have been filmed is signifi-
still cite Tooke and Baker’s (1996) findings that, cant, has resulted in such claims becoming gener-
11 years following the release of the movie Close ally accepted as fact (e.g., Allen, 2004; “Extra
Encounters of the Third Kind, one fifth of respon- $4.5m to Help,” 2001; Hodgson, 2003; “Movies
dents attribute their initial knowledge of the Dev- Mean Tourism Dollars,” 1996; “Rob Roy to the
il’s Tower National Monument in Wyoming, to Rescue,” 1995; “Tucson’s Future,” 1998). How-
the movie. In the year after the movie’s initial re- ever, research to date paints a far more complex
lease, visitation to the site increased by 74% and less optimistic picture. Research conducted for
(Tooke & Baker, 1996). Such data are impressive Tourism New Zealand in 2003, during the height
and contribute to the notion that movies are of The Lord of the Rings awareness, found that,
strong, positive destination marketing tools. How- while the majority of current and potential visitors
ever, such results are not immediately replicable to New Zealand were aware of the movies, they
at all filming sites as the attraction of the classic motivated only 9% of current international visitors
God-myth expressed through this movie’s story- to visit (NFO New Zealand, 2003). The report
line (Hirschman, 2000) may not hold true for other concludes by encouraging further promotion of the
places; yet the belief that all filming is good for movies, but acknowledges that, “while LOTR has
tourism at all places is common. been effective in raising the profile of New
The news media has contributed to this belief Zealand as an destination, there has been less of a
of the power of film by regularly presenting sto- direct impact in terms of actually driving visita-
ries supporting this premise and promoting places tion” (NFO New Zealand, 2003, p. 5).
where television series and movies have been set. While Tourism New Zealand must be com-
Anecdotal evidence of tourists flocking to TV and mended for building on their knowledge through
movie sites is prolific (e.g., Cobb, 1996; Coolidge, taking a strategic, empirical research approach,
1995; Courtis, 1999; “Lures and Enticements,” this example is presented as a warning—without
1998; “The Sewers of Madison County,” 1995), independent research and appropriate tourism des-
with academic research now reinforcing such data, tination planning, combined with a willingness to
to a certain extent (see Beeton, 2000; Croy & accept contrary data, the destination marketing ef-
Walker, 2001; Riley, 1994). An example of media fectiveness of film may be lost.
reporting of anecdotal information can be found in In addition, in a recent article published in The
Australia’s national newspaper, The Australian, Australian newspaper and online with associated
that has an occasional column in the travel section, papers around Australia, the journalist cited a Brit-
titled “As Seen In . . .” detailing where scenes ish survey that apparently found certain TV pro-
from popular movies were shot. The Australian grams (in this case, Eastenders) puts domestic
also ran an article on a journalist’s reaction to im- travelers off visiting London (Austin, 2005).
ages in various films in relation to whether they When queried as to the availability of the report,
would motivate him to visit the film sites (Quee- the journalist (who is the Travel Editor of this na-
nan, 2004). Unfortunately, the story itself was full tional paper) stated that “we took the original story
of anecdotal mis-information in relation to the from the AAP wires and had no contact with Tele-
power of film to draw (or deter) tourists, and did text [the research company] in the UK” (personal
not (unsurprisingly) cite any of the publicly avail- communication, April 2005). At the time of writ-
able research reports and data. ing, the report from Teletext Travel was proving
Checking sources is not a strong suit with some difficult to obtain. In actual fact, even locating and
in the travel (and other) media, resulting in the far contacting the company proved difficult.
too common situation of questionable data being Croy and Walker (2001) consider film-induced
repeatedly presented until such mis-information is tourism as a tool that can be utilized in strategic
taken as “truth.” As a case in point, Queenan’s regional development in terms of infrastructure
184 BEETON

development, increased jobs, and amenities, as control can have dramatic long-term social effects,
well as tourism, from a destination marketing per- especially in terms of developing countries (see
spective. Their research unearthed a dearth of un- “African Village Says,” 1995; Mader, 2002).
derstanding of the breadth and depth of film- One such case in point is the small UK village
induced tourism from regional managers, and they of Goathland, the site of Aidensfield in the popu-
were unable to identify any proactive management lar long running TV series, Heartbeat. Tourism to
strategies related to film-induced tourism in the re- the village, which is in a national park, has in-
gions they studied in New Zealand. This was creased from 200,000 to over 1 million per annum
somewhat surprising (and disconcerting) consider- since the series was first shown in the early 1990s
ing that the time of their research was during The (Mordue, 1999). The issues that community and
Lord of the Rings saga, when so many journalists tourism planners have had to face include loss of
and tourism “experts” were predicting significant privacy, vehicle parking on common grazing land,
tourism growth from the movies and other New and congestion, as well as a change in the “type”
Zealand films. of visitor to the village (Beeton, 2005; Mordue,
2001).
Community Relations With Film-Induced The result of increased visitors and changing
Tourism and Tourists visitor profiles through film can also have physical
effects on a place. Beeton (2004b) reports on the
As noted above, many destinations have come changes to the main shopping precinct of Barwon
to assume that having a movie or television series Heads, a small seaside village in Australia where
filmed in their region will automatically increase the filming of the popular Australian TV series
tourism, and that this will be to their advantage. Sea Change occurred. While many of the empty
However, this is not always the case, leaving shops are now occupied, the focus on the goods
many destinations confused and bewildered over and services provided has shifted from the resident
the assumed power of such media to induce tour- to the visitor, with an increase in the number of
ism (Beeton, 2004a). On the other hand, some cafes, galleries, and restaurants and decrease in
small communities have had to deal with signifi- banks, butchers, and grocery shops to zero. Even
cant increases in numbers, at times to the detri- police services were restricted to part time in the
ment of their small town lifestyle, and even of peak holiday season only and not available at all
their existing tourism base. Small rural villages in in other times of the year (Beeton, 2004b).
fragile environments are particularly susceptible to The management implications of such a range
this phenomenon of being too popular. of scenarios as those noted above extend to all lev-
In terms of tourism to the communities in which els of government and business through to the
the films are shot, the political focus tends to be general community, as tourism and place image
on economic aspects such as the number of jobs can have significant impacts on aspects of life that
the filming process will create and the potential of may at first seem unrelated. For example, in the
film-induced visitors to the site after the screening UK, rural tourism has over four times the GDP
of the movie, documentary, or TV series. Yet indi- value of agriculture (Sharpley, 2001). Consequently,
viduals may not desire certain aspects of film- any change to tourism in rural England (where
induced tourism for their community, such as film-induced tourism is a major player) can se-
crowding and loss of privacy. In many cases, the verely affect rural communities to a far greater ex-
exclusion of residents, local businesses, and other tent than agriculture.
stakeholders from any real discussion or consulta- In addition, the very nature of film making does
tion regarding the filming of and/or in their com- not encourage cooperative community and film
munity has rendered them unable to contribute to company consultation on the future effects of that
the future of the community in which they live—a film—the director of a movie or television pro-
critical aspect of successful community planning. gram is concerned about producing the best prod-
Many researchers and practitioners recognize that uct possible and is not duly concerned about the
such disenfranchisement and loss of community legacy with which the community may be left,
 UNDERSTANDING FILM-INDUCED TOURISM 185

such as a sudden surge in tourist numbers and classes that give participants the opportunity to ex-
changed environment (socially, economically, and perience an activity featured in the film also exist.
physically) (Beeton, 2002). For example, a rafting industry valued between
US$2 and $3 million per annum developed on the
Business Responses to Film-Induced Tourism back of the movie Deliverance (Riley et al., 1998),
and an adventure horseback industry grew sub-
While destination marketing, management, and stantially after the success of The Man from Snowy
community relations are problematic and complex River movies in Australia (Beeton, 2001c). Other
areas, what may initially appear as a slightly sim- commercial enterprises focus on the celebrity sta-
pler picture emerges when considering some of tus of the stars themselves, such as tours of their
the commercial tourism enterprises that have de- homes and the stars in the pavement of Hollywood
veloped to serve visitors’ desire for filmic experi- Boulevard. Hong Kong also has recently devel-
ences. Unlike the application of film for destina- oped an Avenue of Stars.
tion marketing, these are not all at the site of The most commercially enduring, yet academi-
filming in the field. While a commercial tour of a cally neglected, enterprises based around film are
film site is one of the more obvious opportunities, not on the external film sites, but back in the film
this can have a limited timeframe; consequently, production studios themselves. Some studios re-
most of the enduring tours are based where a criti- main primarily working places, providing tours
cal mass of filming activity exists, such as in large along the lines of an industrial tourism experience,
urban centers including New York, Los Angeles, such as at Paramount Studios in Hollywood. How-
London, Hong Kong, and more recently Sydney ever, as acknowledged by Walt Disney in the
(Beeton, 2005). Other commercial tourism enter- 1950s, people get bored very quickly with the te-
prises have set up around and within the film pro- dium of the film-making process (Marling, 1994).
duction studios themselves. Consequently, as far back as 1948, Disney pro-
Academic literature that looks specifically at posed a film-based theme park adjacent to his Bur-
such business enterprises is extremely limited, par- bank studio. However, the local council rejected
ticularly in terms of the film studio tourism opera- his application, so he moved his theme park con-
tions; however, the anthropological and social sci- cept to Anaheim—away from the film production
ences fields are presenting some work in relation studios.
to film-based tours. Torchin (2002) provides a so- Today, many film studio theme parks have
ciological perspective of a tour conducted in New their genesis in that original Disney model, nota-
York City based on television sites (On Location bly Universal Studios in Burbank and Japan and
TV Tours), while Beeton (2005) provides an up- Warner Brothers Movie World in Australia, as
date on that particular tour company and their well as Disney-MGM in Florida.
broader operations that include specialized Sex In a postmodern twist in a field that invites
and the City and Sopranos tours as well as more postmodern inversions, Disney not only now has
general walking tours of film sites in Central Park. rides based on movies and TV series at the theme
In addition, Singh and Best (2004) report on the parks, but has also actually developed movies
motivation of visitors participating in a tour at the based on the rides themselves. Such movies in-
only remaining set constructed in the field (“on- clude The Country Bears, a musical comedy based
site”) for The Lord of the Rings—Hobbiton, near on the animatronic bears at Walt Disney World
the New Zealand rural township of Matamata. Florida, Pirates of the Caribbean and The
Beeton (2005) also considers the business aspects Haunted Mansion, both based on the Disneyland
of that operation and outlines the enterprising na- attractions of the same name. Anecdotal evidence
ture of Matamata traders in painting their shop confirms that the links between the movies and the
fronts as “hobbit holes.” rides are very strong and clear when participating
The tours noted above are primarily about how in the ride or viewing the movie. Disney’s Pirates
the producers altered the site to “work” in the of the Caribbean II is sponsoring a yacht in the
films in which they were used; however, tours or prestigious Volvo Ocean Race—an event that at-
186 BEETON

tracts a high level of media attention and tourism empirically tested; however, much can be said for
in its own right. the power of celebrity, fame, and fantasy—all ele-
ments of film.
Filmic Tourists’ Motivation In addition, the powerful influence of myth told
through film as a tourism motivator is unexplored,
Unearthing what motivates humans to do any- yet myth and storytelling is integral to all cultures
thing is fraught with problems, particularly where and societies (Hirschman, 2000). This may be-
image and ego may be involved. As noted by sev- come the most powerful film-induced tourism mo-
eral motivational researchers, the correlation be- tivator of all.
tween self-reporting (one of the most common re-
search approaches in the tourism field) and one’s
Conclusion: Research Needs/Opportunities
actual motivation is low (Koestner, Weinberger, &
McClelland, 1991; McClelland, Koestner, & Wein- For all the mass media exposure, any recogni-
berger, 1989; Woodside & Wilson, 2002). tion of the complexities of film-induced tourism is
Numerous researchers and commentators pos- rare. Academic studies to date have considered the
tulate that people visit film sites to view the sce- broad aspects outlined in this article; however, far
nery, enjoy an activity, relive an experience en- greater, focused in-depth study is still required.
countered in the film, or to obtain an element of The motivation of filmic tourists requires far more
celebrity status through association (Beeton, 2005). consideration, research, and study. While many of
Beeton (2005) reports on one couple who were the existing tourist motivation theories can apply,
staying in a cottage used by the romantic lead in other deeply psychological motivations also at
Sea Change, a popular Australian TV series, who play here.
claimed they were visiting the region because they The recent suggestion from the popular (mass)
of the beautiful scenery seen in the series. How- media that films with a negative storyline discour-
ever, the husband informed the interviewer that his age visitation (such as Austin, 2005; Queenan,
wife “had been behaving like Sigrid (the romantic 2004) needs further investigation, particularly as
lead) all weekend.” evidence to the contrary is emerging (Beeton,
Macionis (2004) attempts to identify film-induced 2005). We need to better understand the relation-
tourists’ motivation through applying Crompton’s ship between the storyline, myth, and images of
(1979) push–pull theoretical construct along with place presented in films and tourism. Just as in
Iso-Ahola’s (1987) identification of the escape and instances where “any publicity is good publicity,”
seeking dichotomy. She proposes that “the push cases exist where even negative exposure in a film
and pull framework provides a simple and intu- can be positive for tourism, such as with the movie
itive approach for explaining the motivations un- Deliverance and adventure tourism. The movie
derlying film tourist behaviour” (p. 89). Others, The Titanic apparently encouraged increased inter-
including the earlier work of Riley and Van Doren est in cruising (“Tucson’s Future,” 1998), possibly
(1992) and Busby and Klug (2001), as well as due to its strong mythical storytelling as described
Singh and Best (2004), also refer to these tourism by Hirschman (2000).
motivations as identifiable drivers for film-induced The level of understanding of the business as-
tourists. pects of film-induced tourism is so low that the
However, Beeton (2005) argues that filmic success of any film-induced tourism business is
tourists’ motivations are far more complex and more by serendipity than good design. While
suggests that they may relate more to the current many of the basic tenets of business theory are
“cult of celebrity” that many commentators be- relevant, understanding the strength of the interest
lieve we now live in (Collins, 1987; Frost, 1997; in a film and what affects its longevity are aspects
Fyfe, 2000; Powers, 2001). Beeton introduces psy- still extremely varied and poorly understood.
chologists Maltby et al’s (2001) notion of “Celeb- Most film-induced tourism research builds
rity Worship Syndrome” as a possible motivation from a Western perspective. Studies by early ca-
for certain tourists. These concepts are yet to be reer researchers from other cultural perspectives
 UNDERSTANDING FILM-INDUCED TOURISM 187

are being undertaken (such as in China), but no Beeton, S. (2005). Film-induced tourism. Clevedon: Chan-
results have been published to date. Such work nel View Publications.
Beeton, S., Bowen, H., & Santos, C. (2005). State of
must be made available in the public realm as the knowledge: Mass media and its relationship to percep-
assumptions made about those from different cul- tions of quality. In G. Jennings & N. Nickerson (Eds.),
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