Focusing on three key areas: the economic, individual and cultural impacts of screen tourism; the role fans play in encouraging tourism; and the practicalities and legalities that need to be considered when working with fans and creating a sustainable form of screen tourism. It draws on 59 survey responses and semi-structured interviews with 10 individuals involved in screen tourism, including government agencies, tourism businesses and fans, as well as fieldwork carried out at six screen tourism locations. National in perspective, individuals across every region of the UK have contributed to this report.
This report first focuses on the multiple impacts screen tourism has. While industry reports often refer to the economic impacts, which was acknowledged by participants, screen tourism also offers employment and skills development opportunities beyond simply tourism. It also has a profound impact on those visiting the locations particularly when the location is tied to a fundamental aspect of fans’ identity such as race, gender or sexuality. While the positive impacts of screen tourism were recognised, there was also an acknowledgement that there are negative impacts, particularly concerning the environment.
The report then looks at the role of fan communities specifically in encouraging screen tourism. Respondents highlighted the affective relationship that fans have with a text, and survey data pointed to the different ways fans find out about filming locations and what they do there. Play and performance were highlighted as a driver for screen tourism, with these also being used by tourism businesses. The role that social media plays in driving visits was noted by stakeholders, who recognised that while there may still be a place for traditional advertising, new forms of media were crucial to word-of-mouth advertising and fans excelled in this kind of information sharing.
The third area of analysis explores the relationship between stakeholders and fans and how the two can and should work together. Some participants highlighted the detailed processes they have to follow when using influencers while others discussed a less formal relationship. Participants also acknowledged that the power of fans to highlight screen tourism locations can be a double-edged sword and while considerations around the environment and screen tourism’s negative impacts might come into play at an official level, fans don’t necessarily think about those issues. A new way of encouraging and engaging with sustainable screen tourism is therefore necessary.
Finally, the report offers recommendations for further work that could be done to ensure sustainable screen tourism benefiting the environment, local communities and fans: Screen tourism cannot – and should not – be separated from heritage or culture and should be positioned alongside heritage and cultural tourism in national and international marketing. As influencers become a more common marketing tool information is needed for fans to be able to negotiate contracts which don’t exploit their love for a text.
A sustainability toolkit aimed at those involved in location scouting and
management, such as production companies and local councils, should be developed, outlining best practices for engaging with fans to promote sustainable screen tourism at all stages of production.
The use of VR and immersive technology should be considered as a means of encouraging more sustainable forms of screen tourism while also recognising the affective relationships fans have with a text.
Focusing on three key areas: the economic, individual and cultural impacts of screen tourism; the role fans play in encouraging tourism; and the practicalities and legalities that need to be considered when working with fans and creating a sustainable form of screen tourism. It draws on 59 survey responses and semi-structured interviews with 10 individuals involved in screen tourism, including government agencies, tourism businesses and fans, as well as fieldwork carried out at six screen tourism locations. National in perspective, individuals across every region of the UK have contributed to this report.
This report first focuses on the multiple impacts screen tourism has. While industry reports often refer to the economic impacts, which was acknowledged by participants, screen tourism also offers employment and skills development opportunities beyond simply tourism. It also has a profound impact on those visiting the locations particularly when the location is tied to a fundamental aspect of fans’ identity such as race, gender or sexuality. While the positive impacts of screen tourism were recognised, there was also an acknowledgement that there are negative impacts, particularly concerning the environment.
The report then looks at the role of fan communities specifically in encouraging screen tourism. Respondents highlighted the affective relationship that fans have with a text, and survey data pointed to the different ways fans find out about filming locations and what they do there. Play and performance were highlighted as a driver for screen tourism, with these also being used by tourism businesses. The role that social media plays in driving visits was noted by stakeholders, who recognised that while there may still be a place for traditional advertising, new forms of media were crucial to word-of-mouth advertising and fans excelled in this kind of information sharing.
The third area of analysis explores the relationship between stakeholders and fans and how the two can and should work together. Some participants highlighted the detailed processes they have to follow when using influencers while others discussed a less formal relationship. Participants also acknowledged that the power of fans to highlight screen tourism locations can be a double-edged sword and while considerations around the environment and screen tourism’s negative impacts might come into play at an official level, fans don’t necessarily think about those issues. A new way of encouraging and engaging with sustainable screen tourism is therefore necessary.
Finally, the report offers recommendations for further work that could be done to ensure sustainable screen tourism benefiting the environment, local communities and fans: Screen tourism cannot – and should not – be separated from heritage or culture and should be positioned alongside heritage and cultural tourism in national and international marketing. As influencers become a more common marketing tool information is needed for fans to be able to negotiate contracts which don’t exploit their love for a text.
A sustainability toolkit aimed at those involved in location scouting and
management, such as production companies and local councils, should be developed, outlining best practices for engaging with fans to promote sustainable screen tourism at all stages of production.
The use of VR and immersive technology should be considered as a means of encouraging more sustainable forms of screen tourism while also recognising the affective relationships fans have with a text.
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