{"title":"FILMMAKING, AFFECTIVE COMMUNICATION AND THE CONSTRUCTION OF TOURISM IMAGINARIES: PUTTING THE WOW INTO SUSTAINABLE WHALE WATCHING","authors":"","doi":"10.3727/109830421x16296375579651","DOIUrl":null,"url":null,"abstract":"The advent of filmmaking provided a means for affective communication, whereby what was real and what was filmed became conflated, helping to create tourism imaginaries that, in turn, drove tourism. However, increased tourism created negative impacts, especially for charismatic subjects like whales that elicit strong emotional responses of connectedness in viewers. In the whale watching industry, getting too close to whales to satisfy visitor expectations has a major detrimental impact. Here, we test whether the very characteristics of film that have helped create the problem, might be used to fix the problem by re-creating tourism imaginaries and changing visitor expectations. We produced a video about sustainable whale watching using a formula designed specifically to enhance its affective and emotional qualities. Survey respondents were randomly assigned to Test and Control Groups, and shown the video either before or after recording their likelihood of going whale watching in the future. Those in both groups that were “Likely” or “Very Likely” to go whale watching, identified affective qualities of the video nearly identically. Elements of the video associated with affective communication (imagery of whales in their natural environment and authentic reactions of tourists seeing whales) were most liked equally by Test and Control Group subjects. However, significantly less of the Test Group found the imagery of close encounters between whales and humans to be their favorite aspect of the video, while significantly more of them noted that the clarity of the message or the way it was told (editing) were their most liked aspects. In sum, the affective features of filmmaking that influence tourism imaginaries, also offer the potential to thwart the negative effects of tourism by invoking changes in attitudinal and behavioral intentions that should lead to more sustainable tourism practices.","PeriodicalId":41836,"journal":{"name":"TOURISM CULTURE & COMMUNICATION","volume":"14 1","pages":""},"PeriodicalIF":0.5000,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"TOURISM CULTURE & COMMUNICATION","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.3727/109830421x16296375579651","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q4","JCRName":"HOSPITALITY, LEISURE, SPORT & TOURISM","Score":null,"Total":0}
引用次数: 1
Abstract
The advent of filmmaking provided a means for affective communication, whereby what was real and what was filmed became conflated, helping to create tourism imaginaries that, in turn, drove tourism. However, increased tourism created negative impacts, especially for charismatic subjects like whales that elicit strong emotional responses of connectedness in viewers. In the whale watching industry, getting too close to whales to satisfy visitor expectations has a major detrimental impact. Here, we test whether the very characteristics of film that have helped create the problem, might be used to fix the problem by re-creating tourism imaginaries and changing visitor expectations. We produced a video about sustainable whale watching using a formula designed specifically to enhance its affective and emotional qualities. Survey respondents were randomly assigned to Test and Control Groups, and shown the video either before or after recording their likelihood of going whale watching in the future. Those in both groups that were “Likely” or “Very Likely” to go whale watching, identified affective qualities of the video nearly identically. Elements of the video associated with affective communication (imagery of whales in their natural environment and authentic reactions of tourists seeing whales) were most liked equally by Test and Control Group subjects. However, significantly less of the Test Group found the imagery of close encounters between whales and humans to be their favorite aspect of the video, while significantly more of them noted that the clarity of the message or the way it was told (editing) were their most liked aspects. In sum, the affective features of filmmaking that influence tourism imaginaries, also offer the potential to thwart the negative effects of tourism by invoking changes in attitudinal and behavioral intentions that should lead to more sustainable tourism practices.
期刊介绍:
Tourism, Culture & Communication is the longest established international refereed journal that is dedicated to the cultural dimensions of tourism. The editors adopt a purposefully broad scope that welcomes readers and contributors from diverse disciplines and who are receptive in a wide variety of research methods. While potential cultural issues and identities are unlimited, there is a requirement that their consideration should relate to the tourism and hospitality domain. Tourism, Culture & Communication provides readers with multidisciplinary perspectives that consider topics and fields extending beyond national and indigenous cultures as they are traditionally understood and recognized. Coverage may extend to issues such as cultural dimensions of the United Nations’ Sustainable Development Goals (SDGs), gender and tourism, managing tourists with disabilities, sport tourism, or age-specific tourism. Contributions that draw upon the communications literature to explain the tourism phenomenon are also particularly welcome. Beyond the focus on culture and communications, the editors recognize the important interrelationships with economies, society, politics, and the environment. The journal publishes high-quality research and applies a double-blind refereeing process. Tourism, Culture & Communication consists of main articles, major thematic reviews, position papers on theory and practice, and substantive case studies. A reports section covers specific initiatives and projects, “hot topics,” work-in-progress, and critical reviews.