Promocija Turističke Destinacije Putem Filmskog Turizma: Slučaj Japana
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Promoting Tourism Destination Through Film-Induced Tourism: The Case of Japan UDK 338.48-61:791.43(520) PROMOTING TOURISM DESTINATION THROUGH FILM-INDUCED TOURISM: THE CASE OF JAPAN PROMOCIJA TURISTIČKE DESTINACIJE PUTEM FILMSKOG TURIZMA: SLUČAJ JAPANA Market-Tržište Vol. 29, No. 2, 2017, pp. 193-203 UDK 338.48-61:791.43(520) DOI http://dx.doi.org/10.22598/mt/2017.29.2.193 Review Wadim Strielkowski Judge Business School, University of Cambridge, 13 Trumpington street, Cambridge CB2 1AG, UNITED KINGDOM, [email protected] Abstract Sažetak Purpose – This paper describes the marketing potential Svrha – Rad opisuje marketinški potencijal fi lmskog tu- of fi lm-induced tourism in marketing Japan, as a popular rizma u marketingu Japana kao popularne turističke de- tourism destination for non-Asian visitors. In particu- stinacije za posjetitelje iz neazijskih zemalja. Posebno se lar, it focuses on the popular culture and on engaging usredotočuje na popularnu kulturu i uključivanje mladih young people from Europe, America, and Australia in ljudi iz Europe, Amerike i Australije u otkrivanje i promo- discovering and promoting its cultural heritage. viranje japanske kulturne baštine. Design/Methodology/Approach – The number of Metodološki pristup – Od 2010.-2015. godine u Japanu Western tourists to Japan rose by 50 % between 2010 je broj turista iz zapadnih zemalja porastao za 50%. Mno- and 2015. Many of these tourists are attracted by the ge od njih privukli su fi lmovi povezani s Japanom na je- fi lms associated with Japan in one way or another. We dan ili drugi način. Iako su većina turista koji dolaze u Ja- assume that, even though the majority of incoming pan kineski posjetitelji, pretpostavlja se da je marketinški tourists in Japan are Chinese visitors, the marketing potencijal izazvan fi lmskim turizmom u Japanu izvor potential of fi lm-induced tourism in Japan represents neviđenoga potencijala. Povećanje popularnosti Japana a source of untapped potential. One can trace the in- kao turističke destinacije može se pripisati brojnim novim crease in the popularity of Japan as the tourism desti- fi lmovima sa Zapada čija se radnja odvija u Japanu. nation to a number of new Western fi lms taking place Rezultati i implikacije – Upotrijebljeni su mjesečni poda- in Japan. ci, kombinacija prihoda s box offi ce-a (blagajni) nedavnih 193-203 2, 2017, pp. 29, No. Vol. Findings and implications – We employ the month- fi lmova s radnjom smještenom u Japanu i statistike o broju ly data on the combined box offi ce revenues of recent posjetitelja iz Australije, Europe i Amerike. Pronađena je fi lms set in Japan, as well as the monthly statistics on kauzalnost između popularnosti fi lmova i broja turista iz the number of visitors from Australia, Europe, and North destinacija koje su najviše pod utjecajem tih fi lmova. America. We fi nd causality between the popularity of Ograničenja – Istraživanje je ograničeno pitanjem po- the fi lms and the number of tourists from the destina- pularnosti zapadne kulture i fi lmova u Aziji. Treba imati tions that are mostly impacted by those fi lms. na umu činjenicu da su samo 3 od 19 milijuna stranih Limitations – The research is limited by the issue of pop- turista koji su posjetili Japan 2015. godine bili su turisti ularity of Western culture and fi lms in Asia. One should izvan Azije. 193 Wadim Strielkowski remember that just 3 million out of 19 million foreign Doprinos – Popularnost fi lmova koji su povezani s Ja- tourists that visited Japan in 2015 were non-Asian. panom, ili čija je radnja smještena u Japanu, iznimno je Originality – The popularity of fi lms either related to or velika u zapadnim zemljama. Na čelu s nedavnom ma- taking place in Japan is enormous in the Western world. đarskom crnom komedijom iz 2015. godine „Liza, the Headed by the recent 2015 Hungarian dark comedy Fox-Fairy”, postoji cijeli niz fi lmova koji ocrtavaju egzotiku “Liza, the Fox-Fairy”, there is a whole array of fi lms draw- i kozmopolitizam japanske kulture. Japansko okruženje ing from both exotic and cosmopolitan Japanese cul- nudi pitoreskne krajolike za melodrame - „Izgubljeni u ture. The Japanese setting off ers a picturesque scenery prijevodu“, (119.7 milijuna američkih dolara prihoda na for melodramas, such as “Lost in translation” (USD 119.7 box offi ce-u) ili „Sjećanja jedne gejše“ (162 milijuna ame- million in box offi ce revenues) or “Memories of a Geisha” ričkih dolara), horore i trilere- „Kletva“ (187 milijuna ame- (USD 162 million), horrors and thrillers, including “The ričkih dolara) ili Godzilla (528 milijuna američkih dolara), Grudge” (USD 187 million) or “Godzilla” (USD 528 mil- kao i akcijske fi lmove - „Kill Bill 1” (333 milijuna američkih lion), as well as action movies, for instance “Kill Bill Vol- dolara) ili „Wolverine” (417 milijuna američkih dolara). ume 1” (USD 333 million) or “The Wolverine” (USD 417 Ključne riječi – fi lmski marketing, fi lmski turizam, turi- million). stički marketing, preferencije potrošača, Japan Keywords – fi lm marketing, fi lm-induced tourism, tour- ism marketing, consumer preferences, Japan Vol. 29, No. 2, 2017, pp. 193-203 2, 2017, pp. 29, No. Vol. 194 Promoting Tourism Destination Through Film-Induced Tourism: The Case of Japan UDK 338.48-61:791.43(520) 1. INTRODUCTION Iwashita, 2006; Hudson & Ritchie, 2006b; Va- gionis & Loumioti, 2011). This is how fi lm market- For more than 100 years of its existence, fi lm has ing has become a popular tool for promoting allowed bringing to the audience the audiovi- tourism destinations all around the world. sual capture of various ideas and stories. Thanks Popular fi lms can make the viewers embark to the fi lm, people can experience the adven- on a travel in order to experience the physical tures and emotions of heroes in distant time properties depicted in the fi lm (e.g. sceneries, and space. Unlike literature (which also has a fi lms settings, or landscapes), or to share the very strong infl uence on tourism and travel), the emotions and attitudes linked to the actors or fi lm is a medium that its viewer does not have to imagine the form and the shape of the streets, the storyline. Film-associated experiences are interiors, scenery, or the main protagonists of inscribed into the memory by associating them the fi lm (Herbert, 2001; Hudson & Ritchie, 2006a; with the settings and events (see Iwashita, 2006; Roesch, 2009; Connell, 2012; O’Connor & Kim, Hudson & Ritchie, 2006a; Hudson & Ritchie, 2014). The popularity of the fi lm often translates 2006b). into a desire to see the place in person, un- Iwashita (2006) points out that a fi lm can in- leashing the emotions that lead to a desire to crease knowledge of certain aspects of the travel to the fi lm setting or to the place associ- country, such as its nature, culture, and people ated with the fi lm. For the past several decades, which all result in the formation of positive at- fi lm-making has evolved dynamically and its titudes towards the country. In turn, a positive role has changed thanks to the development of image of the country might eventually lead to new information and communication technol- the decision to visit that country in person. ogies (Monaco, 2009; Chiabai, Platt & Strielkow- ski, 2014). Twenty years ago, few people could Carl, Kindon and Smith (2007) stress that such own fi lms or watch them at home at their own leisure activities as travelling or watching fi lms convenience, whereas today almost anyone can are quite similar, since they provide a temporary rent, own, and watch literally any fi lm a count- relief from the daily routine of the real world. less number of times at no additional expense. Film-induced tourism draws the crowds of tour- In the past, people had to travel considerable ists who either want to see the architecture, distances to watch a screening of a fi lm. Now- sceneries, or landscapes associated with partic- adays, there are thousands of movies readily ular fi lms, or who are interested in experiencing available on the Internet or via other forms of the stories and themes associated with the plac- digital and social media (quite often free of es depicted in the fi lms in a bid to grasp the im- charge or at a price of a cup of coff ee), so fi lms measurable genius loci or to enjoy the intangible can be watched in comfort of one’s own home. cultural heritage of the cities or rural landscapes. The frequency of fi lm watching has increased With regard to that, one can mention the “push” tenfold, thus making this medium inseparable and “pull” factors of fi lm-induced tourism: while from and very infl uential on people’s lives (Mo- the push factor would be the possibility to take naco, 2009). a break, as described by Carl and others (2007), Vol. 29, No. 2, 2017, pp. 193-203 2, 2017, pp. 29, No. Vol. In the past few decades, a growing phenom- the pull factor’s impact is more complicated. It enon has been observed all around the world can be shown that fi lm locations do not employ when tourists visited destinations featured in classic marketing and advertising but commu- fi lms independently of destination tourism or- nicate with customers through the medium ganizations’ promotional campaigns. The tour- which can aff ect the human brain at a sub- ism literature unanimously agrees that destina- conscious level. The viewers are brought to an tion image largely infl uences tourists’ choice of emotional state that can hardly be achieved by destinations (see, e.g. Echtner & Ritchie, 1991; classic advertising while the context of the sto- 195 Wadim Strielkowski ries is off ered on various sites that emotionally tors behind this fast-growing phenomenon resonate with movies and easily arouse a desire (Hudson & Ritchie, 2006b).