This month we published a second edition of Sue Beeton’s Film-Induced Tourism which was first published in 2005. In this blog post, Sue explains why she felt it was time for an updated edition.
The first edition of Film-Induced Tourism was published over ten years ago, and focused on research I had carried out from the late 1990s to 2005. Much of it was new to the world of tourism research, yet the industry itself had been using film images and stories to promote their destinations for some time. So, when we look back now, such a publication was not only needed but very obvious!
Ten years on, much has changed, but also a great deal has stayed the same. More people are studying the film-induced tourism phenomenon, but many have become stuck in a recurring nightmare (sorry, paradigm) of repeating again and again what has already been studied, and coming up with the same findings. Even when studied in different cultures, few ‘new’ findings are being presented. One way to move this field forward is to revisit those early studies and see where they are now and if there have been any changes or movement. Such longitudinal studies are rare, so this is what I set out to do.
I published another book on this theme with Channel View Publications last year, Travel, Tourism and the Moving Image, which took a different approach, presenting a companion piece to my first one. I’ve now been able to revisit a lot of the more business-related elements. Not only does this second edition represent and update them, I’ve incorporated a lot of additional research into areas including community and power relations between film companies and destinations. I’ve also extended the operational aspects of film-induced tourism by looking at some of the iconic tour organisations in the industry, from Hawaii to New York and New Zealand.
I continue to be very concerned about the lack of research looking into film studio theme parks, all of which have grown in their complexity and fascination. The technology used by these parks comes straight out of their film studios into a very clearly defined touristic space. So, I’ve taken the opportunity here to revisit these theme parks and extend that work to others around the world, particularly in Japan and other parts of Asia.
I believe that this new edition contributes to the development of film-induced tourism in both theoretical and practical ways and remain excited about this work, even after all this time!
For further information about the book, please see our website.