The integration of film induced tourism and destination branding in Yorkshire, U.K. .

INTERNATIONAL JOURNAL OF TOURISM RESEARCH
Int. J. Tourism Res. 10, 423–437 (2008)
Published online in Wiley InterScience
(www.interscience.wiley.com) DOI: 10.1002/jtr.676

The Integration of Film-induced
Tourism and Destination Branding in
Yorkshire, UK
Noelle O’Connor1,*, Sheila Flanagan2 and David Gilbert3
1
Limerick Institute of Technology, School of Business and Humanities, Moylish Park Limerick, Ireland
2
Dublin Institute of Technology, School of Hospitality Management and Tourism, Dublin, Ireland
3
University of Surrey, School of Management, Surrey, UK

ABSTRACT result, the audiences’ relationship with the
story characteristics and setting is developed
This paper identifies the integration of film over time. This keeps the destination where the
induced tourism and destination branding series is filmed in the audiences’ minds, sup-
on destinations featured in television series’ porting the motivation to visit. Television series
such as Yorkshire, which is the film location usually have more long-term impacts than film,
for many popular English television unless the film is extremely popular such as
series’. The review of the existing literature Crocodile Dundee (1986). According to Beeton,
identified a gap in previous investigations this film shot in Australia provided immedi-
and in response, a tourist survey and ate destination recognition in the USA (Beeton,
strategic conversations with the key 2005, p. 11). The main objective of this paper is
stakeholders were an initial attempt to fill to investigate the level of integration of film-
induced tourism1 and destination branding in
this gap. The issues which arose from these
and the literature review highlighted some a tourism destination such as Yorkshire, UK.
implications for the future development This paper draws on a mixed method empiri-
of these destinations, namely the use of cal work utilising tourist surveys and strategic
destination branding in the promotion of a conversations with tourists and stakeholders
film location. Copyright © 2008 John Wiley within a case study approach, focusing on one
& Sons, Ltd. tourism location, specifically Yorkshire.

Received 5 April 2007; Revised 21 February 2008; Accepted BACKGROUND LITERATURE
11 March 2008
In the midst of some notable exceptions (Tooke
Keywords: film-induced tourism; branding;
and Baker, 1996; Riley et al., 1998; Busby and
Yorkshire; stakeholder.
Klug, 2001; Beeton, 2005; Connell, 2005a,
2005b; Fernandez-Young and Young, 2006,
INTRODUCTION
pp. 126–127) most of the tourism-orientated
literature on film-induced tourism consists of

T
he current British series Last of the Summer
unsubstantiated statements on the economic
Wine has been screened on British tele-
importance of film-induced tourism. Several
vision since 1973 (Mordue, 2001). As a
films are based on books (Haworth and the
Brontë sisters), as are a high percentage of
television series. Many anecdotal studies are
*Correspondence to: N. O’Connor, Limerick Institute of
Technology, School of Business and Humanities, Moylish cited in Tooke and Baker’s (1996) work, which
Park, Limerick, Ireland.
considers four case studies from British tele-
E-mail: noelle.oconnor@lit.ie
vision: To the Manor Born (1979–1991); By the
1
Film-induced tourism is the collective term used for the
study of tourist visits to a destination or attraction as a Sword Divided (1983–1985); Middlemarch (1984);
result of the destination being featured on the cinema
and Heartbeat (1994–present). They also refer
screen, DVD, television or on video (Hudson and Ritchie,
to Cadfael (1994–1998), a historical detective
2006a; 256).

Copyright © 2008 John Wiley & Sons, Ltd.

424 N. O’Connor, S. Flanagan and D. Gilbert

television series filmed in Hungary that (4) film-induced destination marketing activi-
still attracts large numbers of tourists to ties (Cohen, 1986; Woodward, 2000; Beeton,
Shrewsbury, where the originating novels 2002; Grihault, 2003; Frost, 2004; Connell,
were set (Fernandez-Young and Young, 2006, 2005a; Hudson and Ritchie, 2006a, 2006b;
pp. 126–127). O’Connor et al., 2006.
Quite a new occurrence in destination-related
branding is the growth of tourism in destina- Film-induced tourism in Britain
tions where film or television series have been
Britain has been the filming location for over 100
recorded. Attention has been given to how desti-
international films and television series, com-
nations capitalise on their film images in destina-
prising some very successful productions like
tion marketing campaigns by researchers such as
The Da Vinci Code (2006), Four Weddings and a
Riley (1994) and Stewart (1997). Substantiations
Funeral (1994), Braveheart (1995), The Full Monty
from around the world confirm the power of film
(1997), Notting Hill (1999) and Pride and Preju-
and television in inspiring tourism demand in
dice (2003), which have attracted international
showcase destinations; hence, many destinations
tourists to the screened locations. Australia also
have to deal with a dramatic invasion of tourists as
expanded their recognition considerably world-
a result of film-induced tourism (Connell, 2005a;
wide as a tourist destination after quite a few
p. 763).
successful films like Mad Max (1980), The Man
Many years ago, it was viewed that there
from Snowy River (1982), Crocodile Dundee (1986)
was a scarcity of academic research on the phe-
and Crocodile Dundee II (1988). The natural envi-
nomenon of film-induced tourism. A variety of
ronment represented in the films is a factor that
studies have since examined this phenomenon
provoked many Americans, who have a special
and the benefits of both before and after the
attachment to the wilderness, to travel to the
cinematic release of a film for a host destina-
destinations (Riley and Van Doren, 1992). More
tion (Carl et al., 2007; p.49). Busby and O’Neill
recently, films and television series sets in dif-
(2006; p.35) noted that travel inspired by visual
ferent regions of South Korea have motivated
media has existed since the Grand Tour (17–
a number of new international tourist flows,
19th centuries) (Butler, 1990). Hudson and
especially Japanese female tourists to South
Ritchie (2006b; p. 388) suggest that even though
Korea (Iwashita, 2006, pp. 183–184).
no research studies have determined the place-
ment of destinations in films, in general there
Film-induced tourism and destination
is a growing body of research related to film-
branding: the key issues
induced tourism (Beeton, 2005). This can be
categorised into four broad categories: The results from an assortment of studies such
as Gartner (1993) and Busby and Klug (2001)
(1) film-induced tourism as a destination moti- seem to be incomplete descriptive understand-
vator (Urry, 1990; Riley and van Doren, ings of the functions of film-induced tourism
1992; Tooke and Baker, 1996; Riley et al., and do not offer a theoretical insight to why this
1998; Sharp, 2000; Busby and Klug, 2001; phenomenon is happening. Some of the results
Bolan and Davidson, 2005); explain the increased tourism induced by films
(2) film-induced tourists (Macionis, 2004; and suggest that a film could be a helpful tool
Singh and Best, 2004); to change destination images, therefore affect
(3) the impact of film-induced tourism on the audiences’ interest in visiting the destina-
both tourists and residents (Cousins and tion. It is clear from these studies, that further
Andereck, 1993; Schofield, 1996; Stewart, research is required to better understand the
1997; Sargent, 1998; Beeton, 2001a, 2001b, relationships between films and tourism (Kim
2004, 2005; Mordue, 2001; O’Connor and and Richardson, 2003; p.232) and these should
Flanagan, 2001; Gundle, 2002; Bordelon consider the following:
and Dimanche, 2003; Busby et al., 2003;
Croy and Walker, 2003; Kim and Richard- (1) The importance of a strong image
son, 2003; Torchin, 2003 O’Connor et al., There is a strong consensus that image is
2005; Connell, 2005b; Iwashita, 2006; and a key part of a marketing strategy for a
Copyright © 2008 John Wiley & Sons, Ltd. Int. J. Tourism Res. 10, 423–437 (2008)
DOI: 10.1002/jtr

Film-induced Tourism 425

destination and various researchers (Chon, popular culture and closes the gap between
1991; Heath and Wall, 1991) have examined spontaneous belief and empirical evidence as
the use of image in brand formation for des- films familiarise potential tourists with desti-
tinations. It is disputed that regardless of a nations and the attractions featured in them
large quantity of products and services under (Morgan and Pritchard, 1999, pp. 102–119).
the one brand umbrella, the formation of a Aaker (1996) highlighted the significance of
brand identity can be reached to give the des- understanding the tourism destination brand,
tination a common marketing goal (Palmer, developing one that very much reflects the
2004, p. 129). Despite the fact that many des- charm of the destination and also the ways in
tinations have acknowledged the potential of which national brands are perceived in differ-
film-induced tourism and how it can create a ent destination should be regularly reviewed
powerful destination image, few destinations (Morgan and Pritchard, 1998). The creation of
have retained control over how and to whom a good image whether personal, visual, vocal,
the destination is presented through films and film or television related is the key to success,
television series. It is clear that film stakehold- but the brand must reflect the destination such
ers are interested in creating the film they want as Tourism Ireland’s marketing of Ireland’s
and not necessarily the type of image that the built and natural environment.
tourism stakeholders may desire. For instance, a
Destination Management Organisation2 (DMO) (3) Best practice example
may want to encourage high-spending tour- The scope for leverage that The Lord of the Rings
ists, look to establish images of a good quality (2001–2003) offered to New Zealand is in many
tourist destination and also the community ways unprecedented. The New Zealand govern-
may begin to see their town as a welcoming ment launched funding packages to encourage
area, such images can be incorporated into a and measure positive spin-offs from the trilogy
destination marketing strategy (Beeton, 2005, and they (Clark, 2001) acknowledged tourism
p. 154). Nevertheless, a film studio that wants promotion as a vital opportunity created by
to use the destination to create a film about a the films, increasing the profile and percep-
small-minded, racist community, presents an tion of New Zealand as a tourism destination.
image that is unable to coexist with the DMO’s Films are reoccurring events, with DVD/video
desired image (Beeton, 2005, p. 154), whereas launches, television airing and other spin-offs
Morgan and Prichard (1998; p. 8) claim that providing opportunities for frequent viewing,
the challenge for destination marketers is to that strengthen the association between a
find the best way to use images, stories and film and its location (Tooke and Baker, 1996).
emotions to capture the tourists attention and The task of creating and exploiting The Lord
create the destination’s brand. of the Rings connection has been driven by
Tourism New Zealand3 (TNZ) and comple-
(2) Understanding destination branding mented by the media and individual tourism
As the viewing of films and television contin- stakeholders (Jones and Smith, 2005, pp. 923–
ues to expand, so too will their influence on 945).
destination images. Even if those developed Film can also be used to direct attention
through the media may be untrue, they have towards geographical areas or draw attention
the ability to influence both tourism market- to less known destinations. France, for instance,
ers and tourists. Improved theoretical under- uses the film Chocolat (2000) to draw attention
standing of the impacts of films on destination to Burgundy, and Charlotte Grey (2001) to the
perceptions will enhance knowledge about Aveyron and Lot Valley. It can make desti-
the image formation process as it relates to nations popular, which may struggle to find
any other viable reason to develop a tourist

2
A DMO is an organisation at any level which is respon-
sible for the marketing of an identifiable destination. This
3
therefore excludes separate government departments that TNZ is the marketing agency responsible for marketing
responsible for planning and policy (Pike, 2004, p. 14). New Zealand internationally (TNZ, 2008).

DOI: 10.1002/jtr


industry. When the film has been chosen, the film-induced tourism, there is no one suitable
marketing campaign should to be centred research method. Researchers in the social sci-
on the film cycle (Mintel, 2003; 8). It is vital ences operate a variety of research methods
that destinations use successful film-induced that can be applied to tourism depending on
branding examples to initiate their own strate- the type of research questions and the control
gies. This can be supported by using the best that the researcher has over events and behav-
practice model that New Zealand developed iour. To facilitate developing a comprehensive
in its partnership with The Lord of the Rings understanding of the phenomenon, various
(Piggott et al., 2004). methods were used in conjunction with each
other.
Primary data were obtained at international,
METHODOLOGY national and regional levels. This allowed the
researchers to establish industry observations
related to the research topic, in an attempt
Secondary data
to substantiate the findings of the secondary
Initially, secondary data were collected for this
data, support or dispute the research objec-
study in order to provide in-depth understand-
tives, and finally suggest appropriate recom-
ing. It can be subdivided into two components:
mendations and conclusions in response to the
academic and industry-specific information.
research objectives undertaken. The research
This dual focus is necessary to give the study
was divided into two phases. The first phase
academic integrity, in addition to providing
involved a survey of the tourist population
relevance to the tourist industry. The academic
and the second, strategic conversations with
material focuses on destination branding, des-
the key stakeholders from the local authori-
tination imagery and film-induced tourism,
ties, tourism planners to the Regional Screen
whereas the industry material concentrates on
Agency (RSA)5 involved in the development
the tourism trends worldwide and the future
of the Yorkshire brand. A combination of these
development plans proposed for Yorkshire.
methods maximises the accuracy of the results
Preliminary secondary research carried out by
achieved, with qualitative research providing
the researchers establishes that the Yorkshire
a deeper understanding of the issues explored
regional tourism organisation, the Yorkshire
by quantitative research.
Tourist Board4 (YTB), have tried to capitalise
This research study applies both the positiv-
on film-based tourism by producing a number
ist and the interpretive social science paradigms
of guides and trails such as the Yorkshire
that in turn impact its research design. The
On Screen Film Trail (YTB, 2001, p. 2). Fur-
rationale for this is that the survey undertaken
thermore, mention is made in the guidebooks
will allow the researcher to gain a statistical
relating to Yorkshire’s association with the
understanding of the tourists’ interpretation
many television series filmed in the county.
of the film-induced tourism phenomenon
However, it is unclear how effective such
in Yorkshire (positivist paradigm). The
branding has been in terms of its impact on
strategic conversations with the stakeholders
tourist numbers.
(insiders) involved in the development of
Yorkshire as a tourist destination will iden-
tify their views in relation to this phenom-
enon (interpretive social sciences paradigm).
Primary data
Beeton (2000, p. 129) argues that for a broad-
ranging emotionally complex field such as
5
The UK Film Council invests STG£7.5 million a year into
regional film activities through the Regional Investment
4
The YTB is the official tourism agency responsible for Fund for England, which supports the nine Regional
representing and helping to generate sustainable tourism Screen Agencies in England, providing a variety of
for the Yorkshire tourism economy while representing resources aimed at developing public access to and
the whole of the Yorkshire and northern Lincolnshire’s education about, film and the moving image (UK Film
tourism industry (YTB, 2008). Council, 2008).

DOI: 10.1002/jtr


Table 1. Tourist survey sample
Tourism Information Centre No. of surveys (300) Overall % (100)
Aysgarth Falls 40 13
Holmfirth 20 7
Whitby 160 53
York — De Grey Rooms 80 27

As these paradigms use different approaches in the Yorkshire Dales, Holmfirth in the south-
to research methodology (quantitative versus west near Huddersfield, Whitby is on the east
qualitative), the data obtained will be richer coast and York is in the centre of Yorkshire.
in detail. It was undertaken between 9 and 5 p.m.
A descriptive survey was chosen to investi- during both the weekdays and the weekend.
gate tourists’ attitudes towards film-induced The overall aim of the research was to ascer-
tourism in Yorkshire. In planning the survey, tain from the general tourist population, the
the research questions and target tourist popu- extent to which television series and the image
lation were both considered. For the most part, they portrayed of the county, had influenced
the items used in the survey were derived from their pre-visit perception of Yorkshire. Thus, a
previous studies (Hu and Ritchie, 1993; Akama series of open-ended questions and structured
and Kieti, 2003). The two-part questionnaire attribute statements on destination branding,
comprised 33 questions and classified the destination imagery and film-induced tourism
respondents by age, first time in Yorkshire, were included in the tourist survey for this
gender, length of stay, origin, occupation, research study. The rating scale was a 5-point
party size, travelling party, whether they trav- Likert scale based on the level of agreement
elled independently or as part of a package. with each statement.
As the survey was of the general tourist Data were collected via strategic conversa-
population, it was carried out at a number of tions with the key stakeholders behind the
Tourism Information Centres6 (TICs) across Yorkshire brand in July 2006. All of the respon-
Yorkshire, with the largest number of tourists dents had extensive and specialist knowledge
in the areas most directly affected by filming of the specific matters pertaining to the York-
of the three case studies under review. The shire brand as they are the most effective
researchers conducted a stratified sample for method of obtaining more detailed in-depth
the tourist surveys (300) which was conducted information. The 28 stakeholders were chosen
in Aysgarth Falls (representing All Creatures based on their current positions to facilitate
Great and Small, 1978–1990), Holmfirth (repre- the representation of the views of the film and
senting Last of the Summer Wine), Whitby (rep- tourism industry in Yorkshire. Although this
resenting Heartbeat) and York (regional capital) method is judgemental and does not allow the
(see Table 1). researcher to detect who is included or excluded
Once the pilot study was completed and from the study, the researcher picked the most
suggested alternations made, the survey was well-informed tourism and film stakeholders
implemented over a seven-day period in July that represented an industry-based perspec-
2003. Only first-time tourists were considered, tive. As issues materialised from the original
as previous visitation can influence percep- research questions in addition to the design
tions of destinations (Fakeye and Crompton, of the survey data, particular questions arose
1991). Aysgarth is located to the North West that needed to be answered. These issues had
to be customised for the different interview-
ees as each stakeholder, depending on their
knowledge and experience of the several areas
under review, could tackle specific issues more
6
TICs provide the public with information on tourist
fittingly.
facilities and services in Yorkshire.

DOI: 10.1002/jtr


The development of a strong brand can be a
RESULTS
critical success factor for a destination
The increased dependence on tourism as an
VisitBritain’s15 current domestic brand is for
alternative source of income in Yorkshire
three years. Its logo is Real, Fun, Indulgent. The
Area Tourism Partnerships16 (ATP) will assist
The marketing of tourism destinations is grad-
this, as brand and image are a key element,
ually becoming more competitive. Destina-
but the needs of the locals from a social and
tions need to take full advantage of their visual
economic perspective also need to be con-
identity, for example by aligning with relevant
film and television assets.7 VisitBritain (Visit- sidered. The target is to raise their brand posi-
tion and to increase their competitiveness in
Britain, 2008) have increased their funding
the domestic market. The YTB feel the image
from the Department of Culture, Media and
Sport8 (DCMS) by gaining annual non-govern- portrayed and perceived by potential tourists
ment funding of around c3 million annually.9,10 is very important and as a result should be
given special attention in destination manage-
VisitBritain has a small budget compared with
ment planning.12 This can be achieved through
their competitors, but they try to counteract
careful research and segmenting the market,
this by working in conjunction with the film
studios, which helps minimise their costs.11 The matching and tailoring what is on offer to what
the target markets desire.17
YTB also has a limited budget of c4.6 million
VisitBritain and Scarborough District
in comparison with some of their competitors
Council18 argue that branding cannot be
like Scotland.12
ignored because once it is established, the
Both Holmfirth and York TICs claim that
brand needs to evolve with the product, and
tourism is vital given the decline of Yorkshire’s
Yorkshire is trying to do this through their
local industries because of tourism’s ability to
new ATP. To facilitate the development of a
generate repeat business. It also contributes
recognised brand, a collective understanding
c6.15 billion annually to the local economy.
and awareness of the brand by its target audi-
In Scarborough, tourism employees make up
ence is required. The huge increase in both
18% of the workforce, whereas this is only
television channels and the internet means that
8% nationally. Tourism has also aided regen-
it is becoming even more difficult to develop
eration as it helps diversify agriculture. In the
brands based on film/television experiences
Peak District, tourist spending in pubs and res-
because of audience diversity, fragmentation
taurants is important, as 33.3% of all jobs are
based in the tourism industry.13 In 2005, York and reduction. Subsequently, film-induced
brands are likely to become niche products,
city alone attracted four million tourists, pro-
rather than universally recognised products.
duced revenue worth c172 million and created
9561 jobs.14 The brand needs to reflect the destination
otherwise it will weaken and return visitation
will invariably decline.19 Tourism professionals
7
Clewley, Michael; Film and Media Consultant,
VisitBritain (1 September 2006).
8
The DCMS is responsible for government policy on
the arts, sport, the National Lottery, tourism, libraries,
15
museums, galleries, broadcasting, film, the music indus- VisitBritain, the national tourism agency, promotes
try, press freedom and regulation, licensing, gambling Britain internationally in 36 markets and England in
and the historic environment (YTB, 2006). Britain, France, Germany, Ireland and the Netherlands
9
Hancer, Claire; England Sales and Marketing Manager, (VisitBritain, 2008).
16
VisitBritain (27 July 2006). The ATP is a regional tourism partnership, which is in
10
Lal, Vineet; England Brand Manager, VisitBritain (2 place in each of Yorkshire’s tourism regions and com-
August 2006). prises representatives from the public and private sectors,
11
Welch, Seren; Head of International Brands, VisitBritain as well from Yorkshire Forward, Yorkshire Culture and
(27 July 2006). the YTB.
12 17
Smyth, Amanda; Marketing Campaigns Manager, Nolan, Jo; CEO, Screen South (5 October 2006).
18
Yorkshire Tourist Board (31 July 2006). Kibblewhite, Mark; Project Development Officer,
13
Guffogg, Andy; Head of Sustainable Tourism, Peak Tourism and Leisure Services, Scarborough District
District National Park (17 July 2006). Council (8 August 2006).
14 19
Tempest, Ian; Tourism Manager and Secretariat to the Inze, Kerry; Head of Locations and Inward Investment,
Executive, York City Council (21 July 2006). Screen East (31 July 2006).

DOI: 10.1002/jtr


want images created by other sectors, such as marketing of the film went, so did the Peak
District’s tourism product.13
the film industry, to reflect and support the
brand, not weaken it. So as to maximise effec- The National Trust ascertains that if the
tiveness, the strong image of the destination image portrayed in advertising the experience
should be aligned to any destination brand- is of somewhere totally different to the brand
ing that the DMO is implementing, then they image, this will lead to bad publicity through
can maximise on the free advertising. Never- word of mouth. It turns out that Yorkshire as
a whole is portraying a strong image.20 This is
theless, this may not always be the case as it
is never really known how powerful the film very much the case in the Scarborough district
or television series will be until it is released as two of Yorkshire’s most successful television
or whether the images portrayed will truly series, The Royal (2003–present) and Heartbeat,
reflect the destination. Production companies are set there. A strong image does not matter to
do not consider destination marketing when the domestic market as much, as they tend to
take shorter breaks.9 It is important to strike a
they make a film or television series. They are
looking for locations that reflect a script and balance between the aspirations of destinations
the director’s perception of how the story line in an attempt to develop strong brands and
should be portrayed. For that reason, there is a realistic tourism product. Viewers can also
the possibility that the images can be power- become interested in a destination through the
ful, but the destination may not be portrayed story and the characters but the aim of this is
to sell the overall Yorkshire experience.9
in accordance with the brand. Additionally,
locations often double for other places.19 The power of the brand is crucial. National
Scarborough District Council states that the Park amenities, towns and villages are all
Goathland brand is very specific.18 The York- unique as are their festivals and markets.13
shire Dales brand does indeed reflect their The development of a strong image can fill the
tourist product20 as it was very successful gaps through assessing the films and then add
when the television series All Creatures Great to that slowly as has happened in the recent
and Small was first broadcast21 (see Tooke British-based films, Elizabeth II and Henry VII.
and Baker, 1996; Mordue, 1999, 2001; Beeton, York’s image is important, but it could be
2001a, 2005; Mintel, 2003; O’Connor and argued that the reality has to at least match and
Flanagan, 2001; O’Connor et al., 2005, 2006). preferably exceed people’s expectations once
they get there.14 The Peak District National
It is the exposure from television that is the
Park Authority (NPA)23 recently completed a
benefit of hosting a show rather than the loca-
tion fee. Movie maps help as organisations like brand analysis on the strength of its brand.
the National Trust could not afford to produce They found that their image was positive but
them. For the internationally acclaimed film they need to ensure that what is on offer meets
Pride and Prejudice (2003), the National Trust’s22 the brand promise.13
tourism product was featured on the DVD, Destinations need to create a unique image
film website, movie map and contractually and brand to differentiate themselves from
got the film production company, ‘Working their competitors. This will help them compete
Title Productions’ to provide a costume with their European competitors, which have
exhibition. That explains why, wherever the increased since the emergence of the budget
airlines and the enlargement of the European
Union.8 France and Italy are Britain’s main
competitors, whereas VisitBritain forecasts
that China will be a much stronger competitor
20
Barker, Julie; Sustainable Tourism Manager, Yorkshire
after the 2008 Summer Olympics in Beijing.11
Dales National Park (18 July 2006).
21
Shields, David, Tourism Manager, Hambleton District As Yorkshire’s tourist industry is very much
Council (Herriot Country) (18 July 2006).
22
The National Trust is responsible for conserving and
enhancing the natural beauty, wildlife, culture and heri-
tage in Britain. The National Trust also promotes opportu-
23
The NPA have twin purposes of preserving and enhanc-
nities for the understanding and enjoyment of the special
ing Britain’s natural beauty and promoting their enjoy-
qualities of the National Parks by the public (The National
ment to the public (National Park, 2008).
Trust, 2007).

DOI: 10.1002/jtr


influenced by the film-induced tourism phe- Britain’s 24 million) appears to be a little con-
nomenon, this will now be investigated in tradictory. The ensuing economic benefit from
more detail. the high level of tax breaks available to film
makers in New Zealand, pooled with these
promotional overheads, has been queried by
Film-induced tourism has very much
the Organisation for Economic Co-operation
influenced the strength of the Yorkshire
and Development29 (OECD, 2003). This is not
brand
to say that such investment is not practical, but
Many academic researchers (Tooke and Baker, the public investment in tourism promotion
1996; Mordue, 1999, 2001; O’Connor and and private enterprises needs to be observed
Flanagan, 2001; Mintel, 2003; Beeton, 2001a, (Beeton, 2005, pp. 230–231). Other academics
2005; O’Connor et al., 2005, 2006) have studied such as Morgan et al., (2002), Morgan et al.
Yorkshire as a film-induced tourism destina- (2003) and Piggott et al. (2004) also examined
tion. The media is an important way to gain the impact of The Lord of the Rings trilogy on
new audience, such as ethnic minorities, and New Zealand with some suggestions on how
television series like Coast (2005–present) are the successful integration of a film into a desti-
also influential.24 Screen Yorkshire25 indicates nation brand can take place. It can be beneficial
that such branding can be highly successful. It to incorporate film and television into tourism
was also suggested by Screen East19,26 that films destination marketing and planning as seen
are free marketing opportunities. They should with the success of the collaboration between
be considered within a destination marketing The Lord of the Rings and TNZ. The YTB could
strategy with the purpose of strengthening the profit from doing this but so far have not been
brand. Screen South1727 feel that it is probably that proactive considering the number of film
not essential but good partnership marketing and television series (see Table 2) that have put
can assist regional development. On the other the county on the map.
hand, if a destination has as much tourism Film-induced tourism is not a strategic pri-
ority for the YTB.30 It does seem to have been
as its infrastructure can cope with as seen in
Goathland, then perhaps it would be unwise a success in recent times, through Pride and
to advertise extensively that successful films Prejudice (2003), where the respective agencies
have been shot in key locations.28 such as the Peak District National Park have
worked with their screen agency, EM-Media.31
As seen earlier, New Zealand has been
very productive in terms of supporting film- They responded to the demand and produced
materials to encourage tourism.13 Ideally, the
induced tourism particularly in relation to The
Lord of the Rings trilogy. The amount of public multiplier effect should be considered at the
money being put into the tourism promotion time of the shooting of the film or television
linked with one type of imaging tool to such series. Screen East implies that the moving
a sparsely populated country (four million) images tend to strengthen the brand they are
with two million international tourist arrivals actually trying to portray. It can become even
(compared with Australian’s five million and more successful, if the tourist boards and the
local tourism officers work collaboratively
with their screen agency.19
York and Aysgarth TICs argue that the
Yorkshire brand should be based on film/
24
Edgington, Harvey; Broadcast and Media Liaison Officer,
The National Trust (9 August 2006).
25
Screen Yorkshire is the regional screen agency for
filming, broadcasting and digital media industries in the
Yorkshire, and Humber region and is part of the regional
29
The OECD supports sustainable economic growth, boosts
screen agency network which covers the whole of Britain
employment, raises living standards, maintains financial
(Screen Yorkshire, 2008).
26
stability, assists other countries’ economic development
Screen East is the regional screen agency for the East
and contributes to growth in world trade (OECD, 2008).
of England.
30
27
Wragge, Lesley; Press Officer, Yorkshire Tourist Board
Screen South is the regional screen agency for the South
(20 July 2006).
East of England.
31
28
EM-Media is the regional screen agency for England’s
Breakell, Bill; Transport and Tourism Officer, North
East Midlands.
Yorkshire Moors National Park (19 July 2006).

DOI: 10.1002/jtr


Table 2. Yorkshire-based film and television series (1960s–2001)
Year Television series Film
1960s This Sporting Life
1967 The Railway Children
1970 Jane Eyre
1970 The Railway Children
1970 and 1992 Wuthering Heights
1972 The Darling Buds of May
1972–present Emmerdale (Farm)
1973–present Last of the Summer Wine
1978–1990 All Creatures Great and Small
1980s A Woman of Substance, Hold the Dream, Act of Will
1981 Brideshead Revisited
Wetherby
1985
1986 Rita, Sue and Bob Too
1989 A Bit of a Do
1991 Robin Hood — Prince of Thieves
1993 The Secret Garden
Heartbeat
1994–present
1995 Band of Gold
1996 Brassed off
1996 When Saturday Comes
1996–2006 Where the Heart Is
1997 The Full Monty
Elizabeth
1998
1998 Little Voice
1998 Playing the Field
2001 Harry Potter and the Philosopher’s Stone
2001 The Inspector Linley Mysteries

Adapted from Yorkshire Tourism Board, 2001/2002.

television and be part of a wider brand as both wider brand. It would be a mistake to give the
of these bring in tourists whereas VisitBritain media brand a narrow focus as it should be
part of a wider brand.32 Tourists visit a destina-
ascertains that a wider brand tends to deliver
more than what is shown on screen.11 The main tion for different reasons and not all of them
aim is the free public relations but it is a very watch the films or television series that a desti-
narrow window from production to release. nation-marketing agency may use. Also, a film
The integration of film-induced branding into or television series may only reflect one or two
the wider brand can be very productive but aspects of an overall brand.
the success of a production needs to be realised There have been many very successful tele-
first, otherwise there would be too much risk. vision series set in Yorkshire over the last 50
Nevertheless, that does not mean to say that years so the British themselves have an image
preparations should not be made in anticipa- of Yorkshire (see Table 2). Like any destination
tion of the demand. A brand needs to be able that has only been experienced through a film
to continually reinvent itself. Screen South and and/or television series, it only tells part of the
The Peak District National Park advocate that story. There are many other sides to Yorkshire
as long as a film or television series has a large that tourists who have never visited would not
popular viewing audience that is likely to visit,
the brand can be based around these.13,17 This
can happen if the brand is powerful enough, 32
Steele, David; Head of Research and Statistics Unit, UK
but it is more productive for it to be part of a Film Council (27 July 2006).

DOI: 10.1002/jtr


be aware of.28 Kirklees Metropolitan Council consortium, The Northern Way, is trying to
encourage such growth as it seems to be a very
supports the idea that Yorkshire’s unique
media-led world today.34
selling point is its tourism product: beaches,
The use of media brands can be extremely
food, mountains, people, sea and shops. York-
cost-effective as the film company is pro-
shire is a very big county and is very strong
in attracting tourists.28 The YTB suggests that viding free marketing. It should not be only
branding but it is one of the most effective
Yorkshire is presently portraying a positive
ways to market the county9 as only particular
image through a strong portrayal of adven-
market segments are interested in that type
tures, community, experiences, family values
and roaming countryside.12 of product. Port Merrion (Wales) plays down
their links to the television series, The Pris-
Yorkshire’s television series have reinforced
oner (1967–1968), as they feel their strengths
the traditional core values associated with a
are greater than having been in a cult show.24
rural county.33 Yorkshire is still portrayed as
In the case of Yorkshire, the YTB and RTA
very traditional and can give a wrong impres-
have recognised the strength of certain brands,
sion as in Sheffield and The Full Monty (1997)
instead of its art and culture.13 On the other for instance the Herriot and Heartbeat Country
brands, which help raise the profile of the
hand, through the Yorkshire-based televi-
destination and encourage tourists. The pop-
sion series, they have raised the awareness
and shown a positive image of the county.34 ularity and longevity of these productions
have contributed to the creation of successful
Historically, Yorkshire has been represented
media-related brands, both domestically and
as mostly rural and is often portrayed in a
internationally.
similar way. The YTB are trying to change this
The Santa Barbara Conference and Visitors
so they can attract a younger audience and
Bureau produced Sideways (2004) — The Map in
they reinforce the concept of the county being
beautiful.30 2004, a guide to the film locations of Sideways,
even before the film was released. Shortly after
Nonetheless, over the last couple of years,
its premiere, tourists keen to see the diners,
Yorkshire has been home to new gritty urban
hotels and wineries used in the film, purchased
television series like No Angels (2004–2006)
10 000 copies of the guide (Hudson and Ritchie,
and Bodies (2004–2006), hence a new image on
2006a; p. 259). Beeton (2005, p. 62) also men-
television of the county is starting to emerge,
tioned that the creation of the highly successful
which the YTB very much supports. It is bring-
Australian Movie Map, which includes films
ing in new tourists as Heartbeat continues to
redefine the traditional image.28 The image of such as Babe (2002) and the world’s first feature
film The Story of the Kelly Gang (1906). New
the county is continually reinforced through
Zealand also published movie maps identi-
television series like All Creatures Great and
fying the country as the home of Lord of the
Small, Heartbeat and Last of the Summer Wine. It
Rings, promoting road trips to the film loca-
would be true to say that the face of some des-
tions and incorporating a pictorial journey of
tinations within the county have been altered
the key film locations on its tourism websites.
after the increase in tourism; the village used
In Ireland, the Wicklow Film Commission has
in Heartbeat has turned into a tourism product
itself.30 Kirklees Metropolitan Council ascer- produced the Film Action in County Wicklow
Guide, which illustrates the film trails that the
tains that the way forward is to get away from
county has to offer such as Braveheart Drive,
the traditional image and it is worth noting
Excalibur Drive and Michael Collins Drive; but
that the film crews themselves contribute to
because of the lack of promotion and finan-
the local economy when they are filming in
cial support, these have not been as success-
the county. The North of England’s marketing
ful as the American, Australian and British
examples (O’Connor et al., 2005). The growth
of the movie map is an integral element of
33
Barker, Alison; Tourism and Culture Manager, York- film-induced tourism, which can have a very
shire Forward (20 July 2006).
positive impact on the development of a tourist
34
Evans, Martin; Director, Screentourism.com (21 July
destination.
2006).

DOI: 10.1002/jtr


CONCLUSION marketing of their destination. This in turn
may result in considerable economic, environ-
mental and social problems (O’Connor et al.,
Film-induced tourism discipline
2006).
Yorkshire has presented a refreshing insight
into the film-induced tourism phenomenon.
It has corroborated with some of the preced- Film reimaging rural areas
ing research on this topic and is further evi-
Busby and Klug (2001) discovered in their
dence of the influential effect that films and
research about the film Notting Hill (1999) that
television series can have on a destination. It
two-thirds of the respondents concurred with
has shown that such tourism is a versatile and
the fact that films and television series can
vibrant concept and its success is reliant on
promote tourism to a specified destinations
many factors outside the destinations control.
(Hanefors and Mossberg, 2002, p. 236). The key
Without a doubt, research is required to study
findings of this study also support Gartner’s
these and other factors relating to film-induced
(1996) the argument that image formation
tourism. There is also a need for more research
agents like news and popular culture can alter
into the emotional and behavioural aspects
destination images in a relatively short time
of such tourism. Many variables may affect a
period. The promoting of tourism destinations
film and television series impact on viewers’
is turning out to be progressively more aggres-
mindset towards a destination and as a result
sive as destinations will need to find creative
on tourism. Responses to these variables merit
solutions and maximise their visual identity.
further examination (Hudson and Ritchie,
In the YTB’s strategy, one of their aims is to
2006a; p. 266). Lam and Ap (2006, p. 166) argued
increase their domestic brand awareness even
that studies on issues relating to film-induced
though the awareness of the Yorkshire brand
tourism, such as its nature, forms, characteris-
is very strong. Conversely, it is about making
tics, its effects on the residents of destinations
something different or providing an experience
and tourists’ behaviour, were not conducted
that cannot be gained elsewhere. For Kirklees
until the mid-1990s. Following a broad search
Metropolitan Council, the brands that they are
of the existing research publications on film-
currently using are the Last of the Summer Wine
induced tourism, it was observed that the
and the Pennine Yorkshire brands, whereas at
related academic literature is somewhat scarce,
a county level it is about dispelling visions of
which is in all probability because of its short
Yorkshire and enabling consumers to Make
history (Lam and Ap, 2006, p. 166).
Yorkshire Yours special to them.35

The importance of tourism research The relationship between the tourism and
film stakeholders
Destination marketers need well-founded
and dependable research from which to make Closer collaboration with the screen agen-
branding decisions (Harrill, 2004). Harrill cies and actively sponsoring their activities
(2004) also proclaims that this research should to encourage production and being as film
form the hub of a new subfield of destination friendly as possible is crucial for continued
branding, one that concentrates not only on success. Once it is secured, a closer collab-
the demand side of the industry and how they orative partnership is essential in order to
can attract tourists to the destination but also decide on a strategic approach to maximise
on the supply side, in the steps that should be the opportunities that emerge. The destination
undertaken to provide an alluring and pleasur- can then be ready to meet the demand follow-
able tourism product (Harrill, 2004). However, ing the screening, as the production can be
since O’Connor et al. (2006) have studied the woven into the destination brand itself. The
impact of film-induced tourism on Yorkshire; tourist stakeholders should meet with the film
it has become increasingly evident that some
of the stakeholders like the YTB are over- 35
Rowe-Marshall, Helen; Senior Tourism Officer, Kirklees
using the film and television imagery in the Metropolitan Council (20 July 2006).

DOI: 10.1002/jtr


stakeholders and work out how both sides can and the stakeholder (Hede and O’Mahony,
get the maximum exposure for their campaigns 2004, p. 14).
as only working closer together can provide The findings of the tourist survey, strategic
a fully effective, long-term partnership.7 Film conversations and the issues that arose from
companies should be more forthcoming with the literature review highlight a number of
publicity photos whereas the filming destina- implications for the future development of
tion should have a publicity clause in their such destinations. These implications include
contract with the studios.24 the many positive and negative impacts of
VisitBritain works closely with its strategic filming the various television series in York-
partners in relation to film-induced tourism shire and the use of destination branding in
and plans to continue to do so to facilitate the promotion of a film location as found with
maximising the effectiveness and inspiring The Lord of the Rings and New Zealand. They
people to visit what they have seen on the big were undertaken to illustrate the effect of film-
screen.7 It is essential to keep abreast of what is induced tourism on a branding of a destina-
being filmed, where and initially maintaining tion, namely Yorkshire. It has been shown that
the relationship between the tourism and film film-induced tourism has the potential to offer
stakeholders, namely the production compa- many great opportunities but also creates many
nies, the local authorities, tourism officers and drawbacks. The perception of Yorkshire as
the screen agencies. It seems that once a release film-induced tourism is not widely welcomed
date is determined this is the point where plan- by the stakeholders and the implications are
ning should begin so that promotional mate- that maintaining a clear balance between
rials are ready to coincide with destination Yorkshire’s current tourism product and
images appearing on the big screen. maximising opportunities in new markets is
the most appropriate way forward. (Conell,
2005a, p. 774).
Research limitations and further research
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