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Film tourist tribes

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Glen Croy contributes societal interaction and film involvement dimensions to characterise film tourists, enabling a greater understanding of film tourists and film tourism.

Image courtesy of interviewee. September 18, 2024

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This video discusses a research project focused on understanding film tourists, particularly emphasizing the social dimension of their experiences. Previous studies suggested that film tourism was more prevalent than indicated, showing that only a small, motivated group of tourists travels primarily because of film. The research aims to explore three key dimensions: the social interactions among film tourists, the temporal aspect of their engagements with film before and after visiting a location, and the geographical settings that attract these tourists.

The researchers found that while some tourists are deeply motivated by films and have extensive experiences focused on film, many are only casually influenced by films, with film serving primarily to raise awareness of a location. The analysis categorizes film tourists based on their motivation and the depth of their experiences, from highly motivated and deeply engaged tourists to those who merely stumble upon film-related locations without significant emotional attachment.

Additionally, the research highlights the importance of social connections among fans and idealizes a "film tourist tribe," which encompasses tourists who travel to film sites as part of a community that values shared experiences. The findings suggest that tourism management should consider the diverse expectations of film tourists and maintain the authenticity of film sites, balancing the influence of cinematic narratives with the historical and cultural significance of these locations. This video concludes by advocating a deeper understanding of the connections between film and travel decisions, including how film narratives can impact cultural storytelling at tourist sites.

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Here are five key points from the video about film tourism:

1. **Investigation of Film Tourists**: The project aims to explore an under-researched aspect of film tourism, specifically the social dimension, which focuses on the interactions and experiences of tourists who visit locations featured in films or television shows.

2. **Motivation and Experience Levels**: The study identifies different degrees of motivation among film tourists, highlighting that while some are primarily motivated by films, many are either not motivated by films at all or are only mildly influenced by their exposure to film. Additionally, tourists experience varying depths of engagement, from deeply immersive experiences to more superficial encounters.

3. **Temporal and Spatial Dimensions**: The research extends beyond traditional geographic and temporal boundaries by considering how tourists engage with film content before and after visiting a location. It emphasizes the importance of the extended timeline of the film tourist experience, which includes prior engagement with the film and ongoing interactions with fan communities.

4. **Diverse Experiences at Film Sites**: Film tourism sites cater to a wide range of tourists, from those seeking deep emotional connections to those looking for casual experiences. The research indicates the need for management strategies that accommodate the diverse motivations and experiences of different types of film tourists.

5. **Cultural Narratives and Authenticity**: The interaction between film tourism and the inherent cultural narratives of locations is crucial. The study points out the potential for film narratives to overshadow or reframe the original cultural stories of a location, raising questions about the authenticity and preservation of these sites in the face of increasing film-induced tourism.

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Here are some key quotes from the video regarding the understanding of film tourists and the dimensions of film tourism:

1. **Investigation of Film Tourists**:
- "This, um, project is really investigating our understanding of film tourists and looking at a different dimension that previously...hadn't been, um, foregrounded."

2. **Social Dimension**:
- "That was really the element of the social dimension."

3. **Motivations of Film Tourists**:
- "What the further research has been indicating is that the number of film tourists is probably not as great as what we had previously understood."
- "There are some tourists which are very much motivated to travel to places because they've seen them in films..."

4. **Dimensions of Experience**:
- "What we're really exploring is those three elements: the social dimension, the extension of the temporal boundaries of the film tourist experience, and the geographic...or the spatial dimension of the experience."

5. **Understanding Film Tourism**:
- "We've got an idea that it's the scenery in the setting that is attracting tourists to these locations."
- "The proportion of tourists that film is a dominant motivator is actually relatively small within the bigger scheme of tourists that are exposed to film."

6. **Characterizing Film Tourists**:
- "We characterize film tourists using two dimensions primarily: the level of motivation that film has played within their desire or within their travel decision, and the depth of experience that they have in regards to film."

7. **Types of Experiences**:
- "Those that are having a deep film experience...compared to those that may have more...what we call shallow experiences."
- "We call those the serendipitous, um, film tourists."

8. **Temporal and Social Dimensions**:
- "What I mean by that is that if we're at a film site...we’re actually seeing that the tourists...have actually invested in watching the film...and they continue on with that engagement after the site through...fan base groups and the like."
- "The key element that we're seeing in this temporal dimension is the social activity that occurs...the social interaction with other fans."

9. **Management Perspectives**:
- "One is thinking about film tourism as a management, um, perspective...the importance of that temporal dimension."
- "It's actually a location where all the types of film tourists co-locate."

10. **Cultural Authenticity**:
- "Part of it is also about considering how we maintain the authenticity of these locations to the original real story as compared to the fiction of the film."

These quotes capture the core ideas discussed in the video regarding the dimensions, motivations, and profiles of film tourists, as well as the management challenges of film tourism.

X-TIMESTAMP-MAP:LOCAL=00:00:00.000,MPEGTS=900000

00:00.035 --> 00:02.965
This, project is really investigating our

00:02.965 --> 00:04.165
understanding of film tourists

00:04.305 --> 00:06.965
and looking at a different dimension that previously

00:07.025 --> 00:10.085
or pre, hadn't been, foregrounded.

00:10.625 --> 00:13.445
And that was really the element of the social dimension.

00:14.265 --> 00:16.405
Now, the previous research had really highlighted

00:16.475 --> 00:19.845
that there are some tourists which are very much motivated

00:20.025 --> 00:22.605
to travel to places because they've seen them in films, be

00:22.605 --> 00:24.525
that in movies on television and the like.

00:25.545 --> 00:28.925
And we can see that those experiences can be quite in depth.

00:29.155 --> 00:33.575
They can be quite, deep within their understanding

00:33.715 --> 00:35.575
of that place and what they do.

00:36.805 --> 00:40.855
However, what the further research has been indicating is

00:41.365 --> 00:44.655
that the number of film tourists is probably not as great as

00:44.655 --> 00:46.575
what we had previously understood.

00:47.475 --> 00:49.455
Uh, that is that there's only a small number

00:49.455 --> 00:53.055
of tourists which are actually highly motivated by, film

00:53.315 --> 00:54.655
and then induced to go to places.

00:55.555 --> 00:59.945
In addition to that, that the focus

01:00.005 --> 01:03.225
of those previous studies, it's largely been both bounded

01:03.365 --> 01:06.585
by the geography place or space,

01:06.605 --> 01:08.185
and also time within that.

01:08.765 --> 01:11.865
And so what we're really exploring is those three elements.

01:12.125 --> 01:13.945
One was the social dimension,

01:15.415 --> 01:19.345
another one was the extension of the temporal boundaries

01:19.725 --> 01:21.185
of the film tourist experience.

01:21.565 --> 01:24.735
And then the third was the geographic,

01:24.915 --> 01:28.055
or the spatial dimension of the experience.

01:28.275 --> 01:30.935
The literature has really been discovering an emerging

01:30.935 --> 01:32.775
pattern that we are seeing in our

01:32.775 --> 01:34.175
understanding of film tourism.

01:35.155 --> 01:38.455
In the first instance, we see that film tourism exists.

01:39.075 --> 01:41.975
Um, we've got an idea that it's the scenery in the setting

01:41.975 --> 01:44.215
that is attracting tourists to these locations.

01:45.215 --> 01:48.755
As we investigate it further, we can see,

01:48.755 --> 01:53.475
through the studies that it's not only about the film in the

01:53.595 --> 01:54.675
setting that it exists,

01:54.695 --> 01:56.755
but it can also be the engagement with the story.

01:57.365 --> 01:59.675
These other studies are also highlighting

01:59.675 --> 02:01.435
that there are opportunities to manage

02:01.435 --> 02:04.595
or to exploit the featuring of locations in film

02:04.695 --> 02:07.435
to attract tourists with this location within this space.

02:09.515 --> 02:12.325
Further studies though are showing that the proportion

02:12.665 --> 02:15.925
of tourists that film is dominant motivator is actually

02:15.925 --> 02:18.525
relatively small within the bigger scheme of tourists

02:18.715 --> 02:20.085
that are exposed to film.

02:20.635 --> 02:23.805
That is that film doesn't motor motivate

02:23.825 --> 02:26.205
or cause the tourism for many people,

02:26.625 --> 02:28.805
and it's only exceptional films

02:29.155 --> 02:31.285
that actually do create that motivation.

02:32.585 --> 02:34.485
All the same film tourists exist,

02:34.825 --> 02:37.045
and particularly these purposeful film tourists.

02:37.545 --> 02:40.245
And by better understanding those specific tourists,

02:40.345 --> 02:43.285
we are seeing that there is a small group

02:43.285 --> 02:45.845
of tourists which are highly invested within film

02:46.385 --> 02:49.845
and how that then relates to the tourism activities.

02:50.625 --> 02:54.425
So what we've seen overall is that film tourism

02:54.605 --> 02:57.025
as a phenomena exists across the spectrum.

02:57.445 --> 03:01.285
And that spectrum is from those that are highly motivated

03:02.225 --> 03:05.325
and have deep experiences all the way through to those

03:05.325 --> 03:08.525
that are coincidentally at a place that is,

03:08.955 --> 03:09.965
been in a film.

03:10.225 --> 03:13.005
We characterize film tourists using two

03:13.005 --> 03:14.525
dimensions primarily.

03:14.865 --> 03:17.165
Uh, so one is the level of motivation that film

03:17.945 --> 03:19.845
has played within their desire

03:19.905 --> 03:21.405
or within their travel decision.

03:22.355 --> 03:24.055
Uh, and we can see that some tourists

03:24.485 --> 03:26.575
that film is a primary motivator

03:26.765 --> 03:29.015
that is the primary reason why they're traveling

03:29.035 --> 03:30.935
and they're traveling to that specific location.

03:31.405 --> 03:34.175
However, for the majority we can see that film actually

03:34.715 --> 03:37.375
may have been something that raised our awareness of

03:37.375 --> 03:39.775
that location, but it isn't actually a motivator.

03:39.875 --> 03:42.095
And then we've got a, a group in the middle,

03:42.425 --> 03:44.735
which film has played a motivator,

03:44.735 --> 03:46.295
but it's not a primary motivator.

03:46.355 --> 03:48.855
So that's our first dimension is the degree of motivation.

03:49.755 --> 03:52.575
The second dimension is the depth of experience

03:52.575 --> 03:54.415
that they have in regards to film.

03:54.915 --> 03:58.175
So those that are having a deep film experience when

03:58.175 --> 03:59.335
they're traveling to a location.

03:59.875 --> 04:01.815
Uh, and that may be that their

04:02.345 --> 04:05.295
whole experience in this location is about the film.

04:05.295 --> 04:08.175
They might go on film tours to film sites and the like.

04:08.175 --> 04:10.655
They might even go in costume, for the whole area

04:10.875 --> 04:12.975
and having this really deep in depth

04:13.195 --> 04:16.255
and emotionally embedded experience compared to those

04:16.255 --> 04:19.945
that may have more,

04:20.095 --> 04:23.105
what we call shallow experiences that they go to the site.

04:23.485 --> 04:24.785
Um, but really it's,

04:24.815 --> 04:26.025
it's not really creating an

04:26.025 --> 04:27.465
emotional connection or anything.

04:28.005 --> 04:30.585
We then have this third group that those

04:30.615 --> 04:32.945
that are maybe not highly motivated

04:33.325 --> 04:35.945
and they're not necessarily expecting a deep experience,

04:35.965 --> 04:37.865
but actually they have a deep experience

04:38.205 --> 04:41.305
and we call those the serendipitous, film tourists.

04:41.355 --> 04:43.625
Those that have actually unexpectedly

04:43.625 --> 04:45.745
because of their engagement at a site,

04:45.775 --> 04:47.865
they've actually had a deep experience, one

04:47.865 --> 04:49.065
that they weren't driven for

04:49.445 --> 04:51.105
and not one that they're expecting,

04:51.205 --> 04:53.105
but it's something that's emerged through that time.

04:53.565 --> 04:55.265
Our efforts were really extending

04:55.525 --> 04:59.025
beyond the previous studies to understand sort

04:59.025 --> 05:01.225
of a tribal element to film tourism.

05:01.805 --> 05:03.585
And what we're seeing there within

05:03.585 --> 05:05.985
that is the previous studies has given us those boundaries,

05:06.235 --> 05:09.585
geographic and space, but also in time.

05:09.925 --> 05:11.305
And we could see through the studies,

05:11.365 --> 05:13.385
and this is definitely mentioned in the previous studies,

05:13.815 --> 05:16.185
that these film tourists were having experiences

05:16.215 --> 05:19.905
that existed before and after being at the film site.

05:20.725 --> 05:23.545
Um, and that the timeline

05:23.605 --> 05:25.625
for this was actually vastly extended.

05:26.045 --> 05:29.225
And what I mean by that is that if we're at a film site,

05:29.245 --> 05:31.985
it might be there for an hour or a day

05:32.445 --> 05:34.425
or a couple of days or a week.

05:34.965 --> 05:36.985
Um, but we're actually seeing that the tourists

05:37.095 --> 05:39.025
that are there, these film tourists there,

05:39.095 --> 05:41.025
they've actually invested in watching the film

05:41.085 --> 05:42.505
and that might be years ago.

05:42.895 --> 05:46.625
They've actually invested in engaging with, social media

05:46.845 --> 05:48.025
and maybe websites

05:48.025 --> 05:50.625
and other artifacts, in regards to the film.

05:50.645 --> 05:53.705
So we're actually seeing this temporal dimension exist well

05:53.705 --> 05:55.425
before they're actually reaching the site

05:55.885 --> 05:58.325
and they continue on with that engagement

05:58.615 --> 06:01.885
after the site through, again, fan base groups and the like.

06:02.025 --> 06:04.125
So we're exploring this temporal dimension,

06:04.125 --> 06:05.525
but really the key element

06:05.715 --> 06:08.765
that we're seeing in this temporal dimension is the social

06:09.325 --> 06:12.325
activity that occurs and that's the social interaction

06:12.325 --> 06:13.365
with other fans.

06:14.615 --> 06:16.715
And that's really being demonstrated

06:16.715 --> 06:19.155
through those experiences of these,

06:19.165 --> 06:22.275
especially the core film tourists, is

06:22.275 --> 06:24.595
that they've got a strong social identity

06:24.895 --> 06:26.115
and social connection

06:26.145 --> 06:28.475
with other fan groups within which they're looking

06:28.495 --> 06:29.675
to establish their place.

06:29.775 --> 06:33.635
The film tourist tribe needs to have an element of travel

06:34.815 --> 06:39.235
and to be at the film site now compared

06:39.235 --> 06:40.595
to the fan base

06:40.815 --> 06:43.275
or the fan tribe, which doesn't necessarily have

06:43.275 --> 06:45.355
that travel dimension, that spatial dimension.

06:46.095 --> 06:49.195
So the fan base exists within the social media platforms,

06:49.195 --> 06:52.635
within the websites, within the, the fan groups

06:52.815 --> 06:56.075
and the like, but they don't necessarily actualize their

06:56.075 --> 06:57.955
existence within the film tourist tri

06:58.095 --> 06:59.595
by being at that location.

06:59.895 --> 07:02.675
The takeaways from this research are really indicating in

07:02.675 --> 07:03.715
three dimensions.

07:04.255 --> 07:07.835
One is thinking about film tourism as a management,

07:07.835 --> 07:10.635
perspective there and what we're needing to think about,

07:10.895 --> 07:15.195
one is both the spread or the distribution of fan types

07:15.695 --> 07:19.315
and particularly this film tourism tribes from the core

07:19.315 --> 07:22.315
members to all the way to the peripheral to the non-members.

07:22.975 --> 07:25.595
And if we're thinking about engaging with them, there's

07:26.125 --> 07:27.605
appreciation of the element

07:27.705 --> 07:30.045
and the importance of that temporal dimension

07:30.395 --> 07:31.965
that there is an extended time

07:32.025 --> 07:35.005
before that might actually be actualized,

07:35.145 --> 07:37.845
but also the social dimension, which is really important

07:37.905 --> 07:40.405
to this group, particularly that core group that exists.

07:41.405 --> 07:44.545
The second point within the management of these,

07:44.735 --> 07:47.785
film tourism sites is that it's actually a location

07:47.785 --> 07:50.905
where all the types of film tourists co-locate.

07:51.565 --> 07:54.185
So we've got those core that are looking for this deep

07:54.745 --> 07:58.955
embedded emotional tide experience at the same time

07:59.015 --> 08:01.275
as other tourists that are there that are looking

08:01.295 --> 08:02.435
for a shallow experience.

08:02.895 --> 08:05.275
And so we need to cater for the diversity

08:05.455 --> 08:07.835
of desired experiences within that space.

08:09.185 --> 08:11.365
The second dimension that we talk about within

08:11.945 --> 08:15.645
as future areas is really getting a deeper understanding as

08:15.665 --> 08:18.045
to people's connection to film

08:18.625 --> 08:21.205
and then how that then commits to

08:21.305 --> 08:24.085
or translates into a natural decision to travel.

08:24.305 --> 08:27.725
And really that's in that psychological sociological space

08:28.105 --> 08:30.285
as to the tribe and the tribal dimensions

08:30.345 --> 08:33.245
and what it means to be a film tourist tribe member

08:33.625 --> 08:37.085
as compared to a fan, a film fan, tribal member.

08:38.635 --> 08:42.895
And where does that space of actualization at a location,

08:43.195 --> 08:46.455
how important is that and what dimension of credibility

08:46.755 --> 08:50.255
or kudos or status does that potentially deliver?

08:52.245 --> 08:54.625
The third element really is thinking about

08:55.145 --> 08:58.925
Our cultural dimensions into this film is a relatively

08:58.985 --> 09:01.965
recent addition to locations that are being visited.

09:02.735 --> 09:06.725
These locations often have stories that are millennia old,

09:07.275 --> 09:09.565
that have long ongoing stories

09:10.025 --> 09:12.565
and films can be a very powerful tool.

09:12.865 --> 09:16.245
And these fan tourist tribes can be very powerful in

09:16.485 --> 09:19.165
creating new and overriding narratives to these areas.

09:20.065 --> 09:22.365
So part of it is also about considering

09:22.365 --> 09:25.445
how we maintain the authenticity of these locations

09:25.785 --> 09:28.805
to the original real story as compared to the fiction

09:29.265 --> 09:33.365
of the film and the social power that may come along

09:33.435 --> 09:34.685
with the film tourist tribes.

"Exploring the Social and Temporal Dimensions of Film Tourism: Understanding Motivations and Experiences"

00:00:00 - This, project is really investigating our understanding of film tourists and looking at a different dimension that previously or pre, hadn't been, foregrounded. And that was really the element of the social dimension. Now, the previous research had really highlighted that there are some tourists which are very much motivated to travel to places because they've seen them in films, be that in movies on television and the like. And we can see that those experiences can be quite in depth. They can be quite, deep within their understanding of that place and what they do. However, what the further research has been indicating is
00:00:44 - what we had previously understood. that is that there's only a small number of tourists which are actually highly motivated by, film and then induced to go to places. In addition to that, that the focus of those previous studies, it's largely been both bounded by the geography place or space, and also time within that. And so what we're really exploring is those three elements. One was the social dimension, another one was the extension of the temporal boundaries of the film tourist experience.
00:01:24 - or the spatial dimension of the experience. The literature has really been discovering an emerging pattern that we are seeing in our understanding of film tourism. In the first instance, we see that film tourism exists. we've got an idea that it's the scenery in the setting that is attracting tourists to these locations. As we investigate it further, we can see, through the studies that it's not only about the film in the setting that it exists, but it can also be the engagement with the story. These other studies are also highlighting that there are opportunities to manage or to exploit the featuring of locations in film
00:02:09 - Further studies though are showing that the proportion of tourists that film is dominant motivator is actually relatively small within the bigger scheme of tourists that are exposed to film. That is that film doesn't motor motivate or cause the tourism for many people, and it's only exceptional films that actually do create that motivation. All the same film tourists exist, and particularly these purposeful film tourists. And by better understanding those specific tourists, we are seeing that there is a small group of tourists which are highly invested within film
00:02:50 - So what we've seen overall is that film tourism as a phenomena exists across the spectrum. And that spectrum is from those that are highly motivated and have deep experiences all the way through to those that are coincidentally at a place that is, been in a film. We characterize film tourists using two dimensions primarily. so one is the level of motivation that film has played within their desire or within their travel decision. and we can see that some tourists that film is a primary motivator
00:03:29 - and they're traveling to that specific location. However, for the majority we can see that film actually may have been something that raised our awareness of that location, but it isn't actually a motivator. And then we've got a, a group in the middle, which film has played a motivator, but it's not a primary motivator. So that's our first dimension is the degree of motivation. The second dimension is the depth of experience that they have in regards to film. So those that are having a deep film experience when they're traveling to a location. and that may be that their whole experience in this location is about the film. They might go on film tours to film sites and the like.

"Exploring the Diverse Experiences and Social Dynamics of Film Tourists"

00:04:10 - and having this really deep in depth and emotionally embedded experience compared to those that may have more, what we call shallow experiences that they go to the site. but really it's, it's not really creating an emotional connection or anything. We then have this third group that those that are maybe not highly motivated and they're not necessarily expecting a deep experience, but actually they have a deep experience and we call those the serendipitous, film tourists. Those that have actually unexpectedly because of their engagement at a site, they've actually had a deep experience, one that they weren't driven for
00:04:51 - but it's something that's emerged through that time. Our efforts were really extending beyond the previous studies to understand sort of a tribal element to film tourism. And what we're seeing there within that is the previous studies has given us those boundaries, geographic and space, but also in time. And we could see through the studies, and this is definitely mentioned in the previous studies, that these film tourists were having experiences that existed before and after being at the film site. and that the timeline for this was actually vastly extended. And what I mean by that is that if we're at a film site, it might be there for an hour or a day
00:05:34 - but we're actually seeing that the tourists that are there, these film tourists there, they've actually invested in watching the film and that might be years ago. They've actually invested in engaging with, social media and maybe websites and other artifacts, in regards to the film. So we're actually seeing this temporal dimension exist well before they're actually reaching the site and they continue on with that engagement after the site through, again, fan base groups and the like. So we're exploring this temporal dimension, but really the key element that we're seeing in this temporal dimension is the social activity that occurs and that's the social interaction with other fans.
00:06:16 - through those experiences of these, especially the core film tourists, is that they've got a strong social identity and social connection with other fan groups within which they're looking to establish their place. The film tourist tribe needs to have an element of travel and to be at the film site now compared to the fan base or the fan tribe, which doesn't necessarily have that travel dimension, that spatial dimension. So the fan base exists within the social media platforms, within the websites, within the, the fan groups and the like, but they don't necessarily actualize their
00:06:58 - by being at that location. The takeaways from this research are really indicating in three dimensions. One is thinking about film tourism as a management, perspective there and what we're needing to think about, one is both the spread or the distribution of fan types and particularly this film tourism tribes from the core members to all the way to the peripheral to the non-members. And if we're thinking about engaging with them, there's appreciation of the element and the importance of that temporal dimension that there is an extended time before that might actually be actualized, but also the social dimension, which is really important
00:07:41 - The second point within the management of these, film tourism sites is that it's actually a location where all the types of film tourists co-locate. So we've got those core that are looking for this deep embedded emotional tide experience at the same time as other tourists that are there that are looking for a shallow experience. And so we need to cater for the diversity of desired experiences within that space. The second dimension that we talk about within as future areas is really getting a deeper understanding as to people's connection to film

"Exploring the Intersection of Film Tourism and Cultural Authenticity: The Role of Fan Tribes"

00:08:21 - or translates into a natural decision to travel. And really that's in that psychological sociological space as to the tribe and the tribal dimensions and what it means to be a film tourist tribe member as compared to a fan, a film fan, tribal member. And where does that space of actualization at a location, how important is that and what dimension of credibility or kudos or status does that potentially deliver? The third element really is thinking about Our cultural dimensions into this film is a relatively
00:09:33 - These locations often have stories that are millennia old, that have long ongoing stories and films can be a very powerful tool. And these fan tourist tribes can be very powerful in creating new and overriding narratives to these areas. So part of it is also about considering how we maintain the authenticity of these locations to the original real story as compared to the fiction of the film and the social power that may come along with the film tourist tribes.

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