Original Scientific Article
Descriptive Analysis of the Recent Advances
of Film-Induced Tourism: Identification of Strengths,
Gaps and Opportunities
Sara Nunes
Higher Colleges of Technology, uae
sara.nunes.pt@gmail.com
Alejandro del Moral Agúndez
University of Extremadura, Spain
delmoral@unex.es
Julia Fragoso da Fonseca
Polytechnic Institute of Leiria, Portugal
julia.fonseca@ipleiria.pt
Samiha Chemli
University of Deusto, Spain
s.chemli@icloud.com
Kang Jin Seo
Woosong University, Republic of Korea
jormundgand@naver.com
Film-induced tourism is a recent topic in academic research, only studied since the
’90s, and especially in the us and uk, followed by Australia, Asia, and Europe, be-
coming a worldwide theme with its expansion to Asia. In the beginning, the main
studies were focused on justifying the importance of studying the topic and concen-
trating on the power of film and tv productions in motivating tourism demand,
followed by a theoretical and methodological improvement focused on impacts, de-
velopment, andmarketing initiatives. At themoment, studies are focused on a cross-
disciplinary approach and commodification of location and culture. Nowadays, nu-
merous studies focus on this subject, and this paper intends to analyse the latest
advances in the field over the last eight years. Our study explores their strengths,
potential, gaps, and opportunities. In terms of results, we can affirm the strengths
related to the studies centred on the impacts of film-induced tourism on destina-
tions, film-induced tourism as a motivator for the intention to visit through exhib-
ited images, and tourism marketing activities and initiatives based on film and tv
productions. In terms of gaps and opportunities, these are related to tourist experi-
ences and authenticity, celebrities, sustainable planning, cross-disciplinary studies,
residents’ perspectives, consumers’ answers to brand placement, the role of govern-
ments in terms of strategies and policies, the importance of social networks in the
field, and the need for more studies to be developed worldwide, not only based on
western examples.
Keywords: film-induced tourism, tourism, film and media, television, tourist
destinations
https://doi.org/10.26493/2335-4194.15.233-247
Introduction and Background
Tourism to places shown in film productions has been
prevalent since the advent of cinema (Beeton, 2011;
Kim & Reijnders, 2018) and became even more crit-
ical when producers decided to start contemplating
several locations in the city besides the studios, which
Academica Turistica, Year 15, No. 2, August 2022 | 233
Sara Nunes et al. Descriptive Analysis of the Recent Advances of Film-Induced Tourism
began to arouse interest among audiences in visiting
the portrayed places. Some examples of early film pro-
ductions are Roma, città aperta (1945), Sciuscià (1946),
L’amore (1948), Villa Borghese (1953), Roman Holidays
(1953) and many others. After that, many film produc-
tions also started to bet on specific destinations for
their recordings, staying less in studios. The relation-
ship between tourism and cinema stopped being ca-
sual as the two sectors beganworking together, leading
to the film-induced tourism phenomenon.
Many recent works have called attention to this
phenomenon,mainly focused on fourmain categories:
the influence of productions on the decision to travel,
the actions carried out by destinations, the economic
impacts of film tourism, and the marketing and com-
mercialization of tourist activities (Béric et al., 2013).
From the authors’ perspective, it seems a limited ap-
proach that ignores other components actively corre-
lated with film-induced tourism. Our study attempts
to move a step further and identify more categories
that influence the film-induced tourism dynamic.
This paper’s main objective is to analyse the stren-
gths of the recent advances in the field from the last
eight years that should be recognized, valued, and ap-
plied by tourist destinations and to explore the gaps
and opportunities that will suggest new lines of inves-
tigation for future research in the field. This research is
vital as it can provide significant insights for tourism
destinations managers, stakeholders, and film com-
missions and contribute to local communities’ wellbe-
ing.
Methodology
As stated before, the majority of studies have focused
mainly on the economic impacts and benefits from
this type of tourism in the tourist destinations por-
trayed, on the influence that film and tv productions
have on the image of a tourist destination, on the mo-
tivations and preferences of visitors, and on the brand-
ing strategies carried out by tourist destinations (Riley
& Van Doren, 1992; Riley et al., 1998; Tooke & Baker,
1996;Hudson&Ritchie, 2006a, 2006b; Iwashita, 2006;
Kim & Richardson, 2003; O’Connor et al., 2008; Kim
& Assaker, 2014).
The purpose of this research is to analyse the latest
advances undertakenwithin the film-induced tourism
field since 2013, noting strengths, gaps, and opportuni-
ties for future research. To address the problem, an in-
depth analysis was conducted based on descriptive re-
search and secondary data from the studies within this
topic through an extensive review of scientific journals
available on Web of Science (wos), Scopus, ssci and
books. The reason for including books relates to the
fact that some of the most significant work in the field
is presented in books that have a far more multidisci-
plinary and complex approach.
To gather the information, the authors followed
the qualitative approach and developed content anal-
ysis, hermeneutics, focusing on 128 published arti-
cles in the field of film-induced tourism. In terms
of sampling technique, the authors used the criterion
method, which allowed for analysing specific articles
and books published since 2013. Since undertaking
a comprehensive and meaningful study of the field is
virtually impossible due to itsmultidisciplinary nature
and the high number of studies, the authors decided
to establish an exclusion criterion. Therefore, the au-
thors prioritized higher-quality studies, studies that
analysed a new approach to the area, and studies that
consider diverse types of productions and see film-
induced tourism as a broader concept, and excluded
articles that offer a limited approach to the field and
where the new advances and progress in the field were
not considered.
After analysing the studies, the authors decided to
use the qualitative method quotation banks (see Fig-
ure 1), where relevant quotations were organized into
categories or themes. Based on the results, the authors
propose that film tourism can be categorized into five
broad types presented below, where it can be seen that
film studies have evolved from impacts, motivation,
and marketing activities developed by tourist destina-
tions to an analysis of tourism experiences, involve-
ment, nostalgia, and authenticity (Nunes et al., 2020).
The authors also decided to adopt a differentmeth-
odology compared with previous studies with a sim-
ilar approach. The goal was not to describe the evo-
lution of studies in the field, which was already done
by several authors (Connell, 2012; Beeton, 2016), and
also not to replicate, support, and reinforce the most
234 | Academica Turistica, Year 15, No. 2, August 2022
Sara Nunes et al. Descriptive Analysis of the Recent Advances of Film-Induced Tourism
Motivation 
Impacts 
Tourist experiences and authenticity 
Tourist inv., nostalgia and attitudes 
Marketing initiatives 
Figure 1 Quote Bank about the Film-Induced Tourism
Studies (2013–2021)
critical studies, giving credit to specific authors, which
has also been the approach of the majority of the stud-
ies in the field. Instead, the authors decided to aggre-
gate the studies that brought a new perspective and
advances in the field between 2013–2021 and analyse
film-induced tourism knowledge achieved and recog-
nized in the field up to this point. This methodology
will also allow for comparison of the number of studies
per category.
In addition, the authorswere confrontedwith some
overlap given the connections of perception, image,
and intention of visit; however, these studies were or-
ganized by the main explored topic within the spectra
of film-induced tourism and organized by data. Fur-
thermore, the aforementioned similar studies in the
field took place years ago; therefore, this study fills a
significant gap that can bring about a further discus-
sion of the field of film-induced tourism.
Category 1. Economic direct and indirect impacts of
film-induced tourism on destinations (O’Connor &
Kim, 2013; Balli et al., 2013; Martin-Jones, 2014; Quin-
tal & Phau, 2014; Corton & Ebrahimpour, 2014; Kim
et al., 2015; Yoon et al., 2015; Bharti, 2015; Beeton &
Cavicchi, 2015; Di Blasi & Arangio, 2015; Di Cesare
& La Salandra, 2015; Pratt, 2015; Costa, 2016; Kim &
Nam, 2016; Mandic et al., 2017; Tkalec et al., 2017; Li
et al., 2017; Bąkiewicz et al., 2017; Park, 2018; Taylor,
2018; Schmidt et al., 2019; Du et al., 2019; Depken et
al., 2020; Lundberg & Lindstrom, 2020).
Based on the studies presented, we can affirm that
there are several benefits of film-induced tourism in
tourist destinations, usually analysed in the form of
direct and indirect impacts. The direct impacts are re-
lated to the expenses from the audiovisual production
teams, the generation of employment and taxes, and
the indirect impacts derived from the high number
of tourists attracted to the destination in the short,
medium, and long term due to the film and tv pro-
ductions. In terms of direct impacts and depending on
the type of production (films, commercials, tv pro-
grammes, documentaries, photo shoots), the produc-
tion team can have more than 100 professionals. The
duration of the stay can be as long as three months,
adding two months for preparation. In terms of cost
for three months of shooting per production on aver-
age, the expense would be around usd 21 million.
In terms of indirect impacts, it is proved by the pre-
sented studies that the exposure of film or tv produc-
tion location leads to an increase in tourism demand
not only after the production release but also in the
following years. It also leads to a rise in tourism rev-
enue. The increment of tourism demand and tourism
revenue varies from 25 to 150 on average, and in
some cases, the increment is up to 200 to 300. For
instance, New Zealand saw their tourism demand rise
threefold with the release of the trilogy The Lord of
Rings (2001, 2002, and 2003) andMiami saw an incre-
ment of 150 in tourism demand with the production
MiamiVice (2006); Thailand, with the production Lost
in Thailand (2012), also saw an increment rise of 93
in its tourism demand.
Also, new parts of cities started to be included in
the tourist areas and promoted the increase of the
tourism supply on the tourist destination; this is the
case with Slumdog Millionaire (2008), where tour op-
erators and travel agents started organizing commer-
cialized tours to the slums. Hotels also gained recogni-
tion and started being overbooked for a few years after
the production’s release, for instance, The Crown Ho-
tel from the production Four Weddings and a Funeral
(1994). In addition, some tourist attractions had in-
creased visitors, such asWallaceMonument, Scotland,
from the production Braveheart (1995), the National
Parks of Sydney through the production of Mission
Impossible (2000), Rosslyn Chapel in Scotland with
the production The Da Vinci Code (2006), Highclere
Castle in the United Kingdom through the produc-
tionDowntown Abbey (2010), and the Devils Tower in
Croatia through Game of Thrones (2011).
These impacts had been noticed since the analy-
sis of earlier films and tv productions, such asDallas
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Sara Nunes et al. Descriptive Analysis of the Recent Advances of Film-Induced Tourism
(1978), Crocodile Dundee (1986), Dances with Wolves
(1990), and Forrest Gump (1994); however, after the
year 2000 and especially after the film production The
Beach (2000), the impacts on tourism demand and
tourism revenue stopped presenting itself as a slight
influence and became a worldwide phenomenon with
incredible increases of tourism demand and revenue.
In addition, those indirect impacts came to be increas-
ingly higher due to the development of new media
technologies, such as cable television, video, and in-
ternet, among others, which allow repeated visualiza-
tions.
Category 2. Film-induced tourism as a motivator for
intention of visit through exhibited images and me-
dia (Carvalho, 2013; Chen, 2013; Mwaura et al., 2013;
Basanez & Ingram, 2013; Spears et al., 2013; Mathisen
& Perbensen, 2013; Josiam et al., 2014; Josiam et al.,
2015; Baloglu et al., 2014; Tessitore et al., 2014; Rit-
tichainuwat & Rattanaphinanchai, 2015; Ali, 2015; Liu,
2015; Poonia & Chauhan, 2015; Quintal & Phau, 2015;
Loureiro & de Araujo, 2015; Lopez et al., 2015; Pen-
nacchia, 2015; Puleo, 2015; Oviedo-Garcia et al., 2016;
Lee & Bai, 2016a; Fu et al., 2016; Hetland et al., 2016;
Chiu et al., 2016; Stylos et al., 2017; Kumar & Dung,
2017; Itoo & Nagar, 2017; Yang et al., 2017; Ismail et al.,
2017; Meneguel et al., 2017; Nunes, 2018; Terzidou et
al., 2018;Wen et al., 2018; Dubois &Gibbs, 2018; Tham
&Kim, 2018; Lian & Yu, 2019; Du et al., 2019; Liu et al.,
2020; Pookaiyaudom & Tan, 2020; Blanchet & Fabry,
2020; Chen et al., 2021; Vila et al., 2021; Singh et al.,
2021).
Based on the studies presented,we can confirm that
in general, studies carried out show that the images of
a tourist destination, when it is transmitted through a
film or tv production, can be a powerful and effec-
tive strategy increasing the destination’s brand notori-
ety and image.
Film productions and literature expose tourist des-
tinations and can influence the travel preferences and
motivations of individuals to have the desire to live the
same experiences presented by the production, as they
develop feelings, emotions, and attitudes when visual-
izing the production. The more involved the spectator
is, the more their interrelationship with the destina-
tionwill develop, and their idea andmotivationwill be
to try to live the same emotions as the protagonists of
the production. For instance, over 80 of Britons plan
their holidays after seeing tourist destinations in film
productions. Also, it is estimated that three million of
the thirty million foreign tourists that the uk receives
each year are attracted by the places and landscapes
that they have seen in films. It is estimated that one-
tenth of British tourism can be attributed to the im-
pact of films shot at the destination; the ratio between
the two sectors is estimated to represent £2.1 billion of
visitor spending per year.
Category 3. Film-induced tourism marketing activities
and initiatives (Silva et al., 2013; Lara, 2013; Béric et
al., 2013; Hao & Ryan, 2013; Rodriguez Campo et al.,
2014; Ozdemir & Adan, 2014; Urso, 2015; Shao et al.,
2016; Candrea et al., 2016; Pan et al., 2017; Sharma,
2017; Nunes et al., 2020).
Based on the studies presented, we can affirm that
nowadays, when the market is very competitive and
where all countries try to promote their tourism prod-
ucts using themost diversemarketing techniques, film
and tv productions can be constituted as an impor-
tant marketing tool for the promotion of tourist desti-
nations, because it is a way to minimize costs, as the
cost of promoting a tourist destination is extremely
high. Also, results are more effective than the tradi-
tional promotion strategies since the images are not
biased, as they are not intended for commercialization
and advertising; viewers are more likely to respond
emotionally to the perceived informationwhich influ-
ence the decision to visit. In addition, they are much
more comprehensive than advertising, thus reaching
more potential consumers.
Moreover, film-induced tourism has a great capac-
ity to make tourist destinations known, transforming
locations without great tourist expression into authen-
tic tourist attractions, as a brand based on film and tv
production creates visibility. It can increase brand loy-
alty concerning consumer choices. Film and tv pro-
ductions keep viewers interested in a tourist destina-
tion in an innovative and accurate way. Film and tv
productions reach a very public audience and exert
great power on the viewer’s imagination.
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Also, a campaign rarely remains in the viewer’s
memory, contrary to what happens with film and tv
productions that have a long-lasting effect due to the
emotional connection they arouse, since tv and cin-
ema productions can be rewatched through numer-
ous existing communication channels, such as cinema,
dvd, and tv.
In addition, tourist destinations organize tours
supported by maps, interactive brochures, and web-
sites based on film productions, such as The Devil
Wears Prada (2006), Mamma Mia! (2008), Australia
(2008), The Bridges of Madison Country (1995), Harry
Potter (2001, 2002, 2004, 2005, 2007), and Ratatouille
(2007), which have attracted numerous visitors.
Last but not least, tourist destinations can also in-
vest in alternative initiatives. One of these initiatives is
film commissions, which are public, non-profit orga-
nizations, usually public bodies. These entities work
to attract audiovisual productions, promote regional
competitive advantages, and organize support and ne-
gotiation services with the government.Another alter-
native is to invest in film festivals, which are of great
importance, as they not only attract many people who
want to be present but also cause a promotional and
economic impact in the region due to the presence
and dissemination of the media. There is a continu-
ous growth in film festivals, such as in Venice, Cannes,
Hong Kong, Berlin, Vienna, Los Angeles, New York,
London, Edinburgh, Goa, and Manila.
Category 4, Film-induced tourism analysis of tourist
experiences and authenticity (Kim & Assaker, 2014;
Bryce et al., 2015; D’Alessandro et al., 2015; Yen &Croy,
2016; O’Connor &Kim, 2016; Kirillova et al., 2017; Rit-
tichainuwat et al., 2018; James et al., 2018; St-James
et al., 2018; Nechita et al., 2020; Lovell & Thurgill,
2021).
Based on the studies presented, we can affirm that
somedisplacement occurs in the film-induced tourism
context since the locations portrayed in the film and
tv productions sometimes do not correspond to re-
ality. There are many examples of displacement: for
instance, the movie Sex and the City 2 (2010) was shot
in Morocco, not in Abu Dhabi as mentioned in the
production; the majority of the scenes in Braveheart
(1995), a fictionalized retelling of how Scotland fought
for its independence during the Middle Ages when
England threatened to take it over completely, were
actually shot in Ireland due to tax breaks the country
offered; and Saving Private Ryan (1998), one of Spiel-
berg’s most critically acclaimed movies, was actually
shot in Ireland, instead of Normandy, among other
examples.
This displacement will lead to a negative and inau-
thentic experience and affect tourismdemand and sat-
isfaction. Film-tourists have high expectations of the
images portrayed and expect hyper-real experiences
based on motivational drivers such as nostalgia and
scenery. We can affirm that film tourists attribute a
higher value to their judgments of authenticity, and
their experience is built through action. Film tourists
are like pilgrims who focus on having an authentic ex-
perience, even with physical exercise and discomfort.
The focus is to be a part of a temporary community
(fellowship) where the engagement with the experi-
ence providers is primordial, and a displacement could
lead to a less meaningful experience. Therefore, pro-
ducers and tourist destinationsmust consider the neg-
ative impacts that displacement could bring and bet on
authentic portrayed scenarios.
Category 5. Film-induced tourism and tourist involve-
ment, nostalgia, celebrities, and pilgrimage (Busby,
Huang, et al. 2013; Busby, Ergul, et al., 2013; Wong &
Lai, 2013; Yen and Teng, 2015; Yen & Croy, 2016; Bee-
ton, 2016; Kim & Kim, 2017; Chen, 2018; Kim & Kim,
2018a, 2018b; Kim, Kim, & King, 2019; Kim, Kim, &
Han, 2019; Li & Liu, 2020).
Based on the studies presented, we can affirm that
celebrities are seen as human brands, and it has been
proved that they influence consumer behaviour thro-
ugh celebrity involvement. Celebrity involvement is a
state of motivation towards an activity through emo-
tional attachment, which is translated into celebrity
endorsements or worship. The relationshipwith celeb-
rities and actors of a film or tv production will create
a high level of interest, empathy, and admiration and
lead to strong associations, increasing the motivation
to visit the location portrayed. Themore emotional in-
volvement the audience develops, the greater the like-
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Sara Nunes et al. Descriptive Analysis of the Recent Advances of Film-Induced Tourism
lihood of their visiting film tourism locations and de-
veloping place attachment.
Several destination marketing organizations have
used film celebrities to promote destinations (e.g. Bae
Yong-Joon in South Korea and Jackie Chan in Hong
Kong) since they are an effective marketing promo-
tional tool due to the high levels of celebrity attach-
ment transferred into place attachment. Celebrities
play an important role in the process of selecting a
tourist destination, and they are seen as an important
pull factor with attributes such as trustworthiness and
attractiveness. Therefore, celebrity attachment is pos-
itively related to place attachment, affecting the be-
havioural intentions of tourists. Tourist destinations
can also develop place attachment by emphasizing af-
fective and cognitive destination experiences.
Besides the presented five categories, the authors
also recognized some other areas due to the evolution
of the studies on film-tourism research spectra, which
have started to become an interdisciplinary approach
that involves other areas, such as the broader field
of sociology, anthropology, and psychology, media,
and audience studies, cultural studies, cultural geog-
raphy, cultural heritage,marketing and environmental
studies (Beeton, 2010; Reijnders, 2011; Connell, 2012).
However, these new categories lack sufficient evidence
and studies to be established as categories. Also, these
studies need a broader context analysis and method-
ology. These recent studies can be sorted into twelve
new areas, such as:
• Effects of film-induced tourism on the local com-
munity (Yoon et al., 2015; Garcia et al., 2015;McK-
ercher et al., 2015; Zhang et al., 2016; Beeton, 2016;
Mendes et al., 2017; Kim et al., 2018; Saltık&Dön-
mez, 2020a; Kim & Park, 2021);
• Loyalty to a tourism destination through film-
induced tourism and its factors (Chiu & Zen,
2016);
• Sustainable planning in the tourism destination
through film productions (Lundberg & Lind-
strom, 2020);
• Role of cultural proximity between the film pro-
duction and the audience and its impacts on
tourist motivations and demand (Chang, 2016);
• Negative impacts for the communities hosting
film site locations (Bąkiewicz et al., 2017; Itoo &
Nagar, 2019);
• Consumers’ answer to brand placement in movies
(Nagar, 2016);
• A cross-disciplinary academic approach which in-
cludes new areas related to film-induced tourism
studies and exploring cause-effect relationships
among factors (Basanez & Ingram, 2013; Fu et al.,
2016; Saltık & Dönmez, 2020b);
• Connection between film-induced tourism and
voluntourism (Shao & Gretzel, 2018);
• Off-Location such as film-themed events and the-
me parks related to a tv series ormovie (Beeton,
2016);
• Government cultural strategies associated with
the film-induced tourism phenomenon (Kim &
Nam, 2016);
• Tourist experiences have been transformed in the
field due to the impacts and changes of roles
and functions where those experiences were per-
formed (Park, 2018);
• Understanding and approaching the relationship
betweenmedia and tourism (Månsson et al., 2020).
After analysing the significant studies undertaken
within film-induced tourism over the last ten years,
strengths and gaps will be presented and discussed.
Discussion of theMain Results
Strengths are related to the studies identified as cate-
gory 1, category 2, and category 3. The following para-
graphs present the main strengths based on the refer-
enced authors.
A variety of studies allow us to affirm that film-
induced tourism brings critical positive economic im-
pacts for the tourist destination in terms of the direct
effects and indirect effects; the latter results are ex-
tended in the years following the film or tv produc-
tion launch.
In addition, we can affirm that film-induced tour-
ism also has a vital role in the tourist destinations’ pro-
motion since it can constitute an important market-
ing tool that can make the difference in maximizing
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Sara Nunes et al. Descriptive Analysis of the Recent Advances of Film-Induced Tourism
costs and images portrayed on film and tv produc-
tions, and also increasing the possibility of the tourist
destination being selected for a further visit. Due to
this recognition, tourist destinations invest funds to
capture productions and even facilities for producers,
as well as developingmany activities based on the film
and tv productions.
In conclusion, we can say that this type of tourism
brings numerous advantages to tourist destinations,
such as regenerating neglected areas, revitalizing rural
communities, increasing employment, increasing the
number of visitors, increasing and improving infras-
tructure, boosting economic growth, increasing rev-
enue, trade growth, awakening the call to visit, provid-
ing tourist visibility, making images of a place remain
in the memory of spectators, improvement in cultural
interest, decrease in seasonality, and contributing to
the creation of new products and services in the tourist
destination. It is recognized as an innovative market-
ing tool, able to catch a large audience thatwould never
be reached through so-called promotion and to create
local companies with unique characteristics related to
production that cannot be replicated by other tourist
destinations.
Gaps and Opportunities
After analysing the primary studies carried out on this
theme, significant contributions were found. How-
ever, some gaps would be pertinent to study since they
would allow for knowing more about the theme and
allow anticipation and preparation of the tourist des-
tinations. The gaps are related to the studies identified
as category 4 and category 5. Also, category 1 and cate-
gory 2 present some gaps in particular features that de-
serve our attention and further analysis, even though
those categories were included in the strengths of this
study. The main opportunities are related to new ap-
proaches and methodologies as well as new areas in-
terconnected with film-induced tourism.
The first gap focuses on tourist experiences and
authenticity, even though many authors have carried
out several studies as presented previously. However,
there is a need for more studies since there is still a
lack of understanding of the importance of authen-
ticity. The previous studies proved its importance in
terms of tourists’ perspectives; it means film-induced
tourists recognize the issues with commodification.
However, the same does not happen concerning the
industry; there is still a lack of understanding and
recognition, ignoring film locations when displace-
ment occurs. Currently, most productions focus on
creating unrealistic expectations from visitors based
on the transmitted images on the film or tv produc-
tions since the location portrayed in production is dif-
ferent from reality. This situation is more common
thanwe usually think; producers are influenced to pick
a destination that offers the best advantages related
to incentives, location, services, infrastructures, and
costs. Therefore, producers have been pressured to se-
lect the most competitive tourist destination regard-
ing film-induced tourism, such as the United States,
Canada, New Zealand, the uk, and Australia.
This process leads to problems related to authen-
ticity, so it is vital to make an accurate transcrip-
tion of reality, even though the films are notoriously
works of fiction. The focus should be on developing
film locations instead of story settings and prioritiz-
ing activities related to existential authenticity that
film-induced tourists can experience to match hyper-
real expectations and give them a sense of belonging
based on cognitive, emotional, and behavioural in-
volvement. Therefore, it is necessary to develop more
studies on how to implement new strategies for the
tourist destination to analyse how tourism bodies, au-
thorities, and film commissions canwork together and
create an adequate analysis of displacement and the
potential negative consequences for the tourist desti-
nation, including the concept of commodification.
In addition, tourists’ experiences in the places vis-
ited and how they perceive, interact, and relate to
the tourist destination should also be evaluated. In
other words, we can say that there are no studies that
measure the degree of satisfaction of tourists after an
experience of film tourism, and this would be very
important. It is also pertinent to analyse what kind
of activities tourists are looking for in the destina-
tion and the ones which satisfied/dissatisfied them the
most. Among the possible actions, the analysis should
focus on a tour regarding the production locations,
visits to film studios, theme parks depicting produc-
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Sara Nunes et al. Descriptive Analysis of the Recent Advances of Film-Induced Tourism
tions, events, film festivals and premieres, and visits to
celebrity houses, among others. In addition, it would
be very important to analyse how the tourist’s experi-
ences changed over time due to the impacts of film-
induced tourism and changes in the functions of the
portrayed places.
The second gap focuses on tourist involvement,
nostalgia, and celebrities; even though many authors
have carried out several studies, as presented previ-
ously, there is a need for more studies to understand
to what extent the associations with celebrities could
also bring negative connotations besides the already
proven benefits. Celebrities can also be a risk since it
is impossible to predict their career and behaviour in
terms of morals and ethics. More studies should be
developed to understand the cause-effect relationship
between celebrities and different tourist destinations
and impacts on the tourism demand when celebrities
are involved in incidents, to analyse if this negative
awareness would affect the tourism demand and satis-
faction.
The third gap is related to the impacts since all the
studies are mainly focused on the positive economic
impacts of film and tv productions; however, not all
the impacts are positive, and sociocultural and envi-
ronmental impacts should also be part of the analysis.
Traffic issues, over-tourism, sustainability, and the role
of the local communities as the host of film site loca-
tions should also be analysed. The role of film-induced
tourism in the sustainable planning and development
of a tourist destination also deserves special attention.
In addition, the majority of the studies focused on the
analysis of the impact of a specific production and in a
specific tourist destination which can bring a minimal
approach and uncredible results since specific results
are not appropriate for making general conclusions.
The fourth gap is related to the motivations; even
though many authors have carried out several studies,
as presented previously, the process that pushes view-
ers to visit the site portrayed in the film or tv produc-
tion is still unclear since not everyone who watches it
decides to visit. It is essential to understand the role of
the perceived value, emotional involvement, familiar-
ity, empathy, identification, attitude, and connection
with the production and determine how they can af-
fect the decision process. Only seeing place attributes
alonemay not explain the process: it needs to combine
behavioural components, such as cultural, psychologi-
cal, emotional, and physical elements of landscape and
place consumption. Therefore, it is crucial to under-
stand the cultural, social, personal, and psychological
factors that are more likely to be connected with film-
induced tourism.
After analysing the presented gaps, we can con-
clude that studies of the field would require a broader
context focus on large-scale studies. Some studies are
also focused on a specific film and tv production
where results cannot be accepted generally.
Concerning new opportunities for further research
on the field, the first opportunity concerns the analysis
of film and tv productions which expose undesirable
images of the tourist destination. The studies should
focus on the hypothesis that revealing negative aspects
of the tourist destination will lead to a negative image
which can lead to a lack of interest in a future visit to
the tourist destination. Or the opposite, since the en-
gagement with special interest tourism, such as dark
tourism and slum tourism, among others, is a strong
trend in terms of consumer behaviour.
The second opportunity consists of the analysis of
cultural perspectives on film-induced tourism mo-
tivation and experiences. It is imperative to analyse
whether different cultures among film and tv pro-
ductions and viewersmake it less likely to identify and
motivate consumers’ decisions to travel to a tourist
destination portrayed on the film or tv production.
Also, the role of culture on the film-tourist experi-
ences and correspondent satisfaction or dissatisfaction
should be analysed.
The third opportunity consists of analysing the role
of the media in this whole process; the goal is to in-
vestigate if popular culture can influence destination
image. Even though there are some studies, they are
not enough to draw general conclusions.Whenmedia
expose the production with a positive or negative per-
spective, the consequences on the tourism image and
demand could differ.
The fourth opportunity consists of the analysis of
film-induced tourism in a cause-effect relationships
perspective among factors correlated directly with
240 | Academica Turistica, Year 15, No. 2, August 2022
Sara Nunes et al. Descriptive Analysis of the Recent Advances of Film-Induced Tourism
the field, such as the relationship between authentic-
ity and loyalty, or celebrity and tourists’ satisfaction,
among others. Film-induced tourism is a complex
topic, requiring in-depth explanatory research seek-
ing to explain relationships between phenomena, be-
sides the already achieved cross-disciplinary academic
approach with complementary areas such as popular
and media culture, cultural geography, film studies,
and theory approaches; cultural perspectives, media,
and tourism; social psychology, and new media plat-
forms.
The fifth opportunity consists of studying different
approaches to keep the longevity of the tourism ini-
tiatives related to film-induced tourism contributing
to sustainable planning and development of a tourist
destination. It is imperative to maintain the longevity
of film tourism initiatives and extend the benefits for
the tourist destination in a long-term perspective, be-
sides the importance of sustainable development and
its sustainable development goals. All tourist destina-
tions are focusing on a long-term aim to preserve en-
vironmental, natural, and social-economic equity, and
film-induced tourismcould be an essential tool for this
achievement.
The sixth opportunity consists of studying if differ-
ent genres might impact tourist visitation; it means to
what extent different genres of film or tv production
have the ability to influence tourism motivation and
demand positively or negatively. It would be crucial
to analyse if, for instance, horror movies and produc-
tions focused on controversial themes would also lead
to tourist motivation and demand. It is vital to take
into consideration different studies due to the subjec-
tivity of the film and tv productions.
The seventh opportunity consists of studying resi-
dents’ perspectives and attitudes towards film-induced
tourism. With so many examples in the industry pri-
marily related with over- and mass tourism in result
of culture clashes based on cultural differences, eco-
nomic inequality between locals and tourists, and fail-
ure to respect local customs and moral values, it is
imperative to develop further research to analyse the
satisfaction of residents in the planning, development,
and establishment of film-induced tourism initiatives.
In addition, it would be important to analyse how the
extent to which local residents’ perceptions and at-
titudes towards film-induced tourism have changed,
transformed, or adjusted over time.
The eighth opportunity consists of analysing con-
sumers’ answers to brand placement inmovies. Due to
the increment of competition, companies can see an
opportunity in film and tv productions since those
are alternative opportunities for advertisement. Be-
sides, filmand tv productions reach a larger audience
and have a longer life span than short commercials.
The ninth opportunity consists of analysing in a fur-
ther and more in-depth perspective the role of gov-
ernments in terms of strategies and tourism policies
in film-induced tourism, analysing their effects on the
host communities and the creative industries.
The tenth opportunity consists of developing more
studies on the field, based not only western examples,
predominantly from the uk, Ireland, Australia, and
the usa, but also including Asian studies. The authors
Kim and Reijnders (2018) made an excellent contri-
bution to the field with their book Film Tourism in
Asia, however, more studies of this kind are needed to
strengthen knowledge and achieve results.
Last but not least, the eleventh opportunity consists
of developing studies on the importance of social net-
works in film-induced tourism in terms of motivation
and image.
Further empirical studies in this area should then
cover those gaps and opportunities that would help
understand this typology of tourism in its fullness
and reinforce the studies and the knowledge already
achieved in the current literature review about the
topic. Even though there are many studies in the field,
it remains an emerging area that would benefit from
this cross-disciplinarity.
Conclusion
After all the presented analysis, we can conclude that
film-induced tourism, despite being a theme that has
only begun to be recognized for its importance since
the ’90s, has generated many studies with the aim of
understanding it as a whole. The first studies reported
analysis on the us and uk, followed later byAustralia,
Asia, and Europe. Those studies were based on the
positive economic impacts of a film or tv produc-
Academica Turistica, Year 15, No. 2, August 2022 | 241
Sara Nunes et al. Descriptive Analysis of the Recent Advances of Film-Induced Tourism
tion, film-induced tourism’s role on tourist motiva-
tions, and the importance of film-induced tourism in
marketing activities and initiatives from tourist desti-
nations portrayed on film or tv productions. Those
studies were about specific productions and specific
tourist destinations, which are questionable for being
applied to other destinations and film and tv produc-
tions.
In the last 20 years, more studies have been added
within the spectra of film-induced tourism research
which also started focusing on tourist experiences and
authenticity and on the role of celebrities in tourist in-
volvement, which has given a more extensive under-
standing and approach to the theme; however, those
topics remain an emerging area for further empirical
studies.
We can conclude there is insufficient evidence to
date in specific areas viewed as potential gaps in film-
induced tourism literature, besides the fact that previ-
ous studies did not explore a correlation between con-
cepts that would allow a broader perspective and com-
prehension. The gaps are therefore related to tourist
experiences and authenticity, tourism involvement,
nostalgia and celebrities, negative impacts of film-
induced tourism on destinations, and film-induced
tourismas amotivator for the intention of visit through
exhibited images; where place attributes alone might
not be able to explain this process, it is also necessary
to add the behavioural components. Not all viewers
feel motivated to travel after watching a film or tv
production.
The main opportunities related to new studies fo-
cusing on the connection of film-induced tourism
with sustainable planning and development are as fol-
lows: to analyse if different genres of film and tv pro-
ductions and different cultures among film and tv
productions and viewers have different effects in terms
of motivation and satisfaction; to analyse if film and
tv productions that expose negative images about a
tourist destinationwould imply a negative image lead-
ing to a lack of tourism motivation to visit the tourist
destination; to focus on the cross-disciplinarity be-
tween factors and even exploring cause-effect relation-
ships among them, and on residents’ perspectives and
attitudes towards film-induced tourism, the role of the
media on touristmotivation and consumers’ answer to
brand placement in movies.
In all, the presented authors can conclude that film-
induced tourism is a profitable and growing sector
worldwide that provides economic importance for the
tourist destinations where the productions are made
due to the increase in international travel and the
growth in the entertainment industry. Therefore, it
is imperative to invest in further research filling the
gaps pinpointed by this study in terms of gaps and
opportunities to keep taking advantage of the present
benefits.
The best examples are destinations like New Zea-
land, theUnited Kingdom, theUnited States, andAus-
tralia, among others, who have adopted film-induced
tourism as a way of promoting their tourist destina-
tions, taking advantage of the opportunities generated,
and becoming part of the panorama of the leading
world tourist destinations. This example can be ap-
plied to other tourist destinations if further research
takes place contributing to empowering managers,
film commissions, stakeholders and local communi-
ties.
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