FILMMAKING, AFFECTIVE COMMUNICATION AND THE CONSTRUCTION OF TOURISM IMAGINARIES: PUTTING THE WOW INTO SUSTAINABLE WHALE WATCHING

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.