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Geo 2144 Quiz 2 > Quiz2 > Flashcards

Quiz2 Flashcards

(68 cards)

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1
Q

What is film tourism?

A

Refers to an experience of an attraction or destination that has been portrayed in some form of media representation.

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2
Q

Film tourism is complex and depends onb

A

The personal characteristics of the viewer

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3
Q

Film tourism is driven by

A

Increase in international travel and growth of entertainment industry

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4
Q
A
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5
Q

Screen tourism

A

Umbrella term for film tourism

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6
Q

Mckerchers (2002) types of film tourists

A

1) serendipidist, 2) General, 3) specific

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7
Q

The serendipitous film tourist

A

(this tourist
just happens to be visiting a destination
portrayed in a film, and the presence of this
tourist is not related to film or media portrayal,
this tourist may or may not participate in film
tourism activities)

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8
Q

general film tourist

A

(this tourist is not
specifically drawn to a film location but
participates in film tourism activities while
visiting the destination)

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9
Q

specific film tourist

A

(this tourist actively
seeks out places that they have been
exposed to by the film)

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10
Q

How are film-destination associations made

A

1) Films construct a visual association

2) Films construct an atmosphere association,
which is different from visual association as it is
an “intangible association”

3) Films create an emotional association with a
destination, connecting it with specific
emotional experiences

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11
Q

How are visual associations made?

A

Some films, while very powerful movies - have very limited destination exposure;

• Instead sets or virtual environments are used
;

•

Although such films may cause strong

responses from the viewer and possibly

regional travel, their

effect on tourist demand

to a

specific location

is severely decreased

as

they are not connected to a real location

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12
Q

how are atmosphere associations made?

A

This association creates connections between the destination and the intangible phenomena of culture, sensual characteristics and feeling;

Films can develop landscape into the cultural property by filling the filmed locations with symbolism and meaning

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13
Q

How are emotional associations made

A
  • Emotional connections between the spectacle and the viewer may be induced by the interrelation of plots and locations.
  • The origin of the emotional response is more complex than the interrelation between location and plot; it is also affected by soundtracks, narrative, and special effects (Smith, 2003).
  • Examples of films with strong emotional connections include Mamma Mia and Little Miss Sunshine
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14
Q

To assess the credibility and authenticity of a film created image…

A

Viewers compare it to the image they had of the destination before watching the film

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15
Q

Reinforcing image

A

The film-created image is similar to the pre-watching image of the viewer (credible).

In this situation, the film reinforces the existing image, possibly adding new information to it.
This can apply to both visual qualities of the portrayed locations and to less tangible characteristics of the destination.
Both positive and negative stereotypes may be reinforced by the film.

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16
Q

Stimulating image

A

The film-created image has tolerable differences (still credible) with the pre-watching image of the viewer.

In this situation, the differences are not major, and the viewer sees that the information they have about the destination needs to be updated.
This may lead to additional information search and possibly affect tourist demand.

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17
Q

False image

A

The film-created image has high differences with the pre-watching image of the viewer, to the extent where the credibility of the film is rejected.

In this situation, particularly if the viewer has access to reliable information for comparison, the film is regarded as not credible.
When making travel decisions, the viewer may not perceive the film as a source of information about the destination.

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18
Q

Literary tourism

A

Visitation of sites with literary associations, generally referred to as book travel, literary travel, or literary tourism, is the earliest form of media-induced travel.
Fictional narratives inspire readers to search for the origins of the stories by visiting places with connections to literary sources.
You will see similarities in this reading to parts of the first one. Consider these, and the differences too!

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19
Q

Defining literary tourism

A

Literature refers to creative writing, mainly fiction prose, but also poetry and drama.
(Travel writing, guidebooks, documentaries, news, and biographies are generally excluded from this definition.)
Once again, visitors will compare the reality that they see to the products of imagination

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20
Q

Challenges of authenticity in literary tourism

A

Several researchers studying literary travel agree that authenticity is especially problematic in relation to literary places—Why?

Interpretation Differences: There are varying interpretations of authors’ lives and fictional works.
Blending of Fact & Fiction: Readers and authors mix reality with imagination in their perception of literary locations.

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21
Q

Films construct an _____ association, which iis different from a visual association as it is an intangible association

A

Atmosphere

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22
Q

Visitation of sites with literary associations or literary tourism is the __ fr of media induced travel

A

Earliest

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23
Q
A
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24
Q

Story worlds

A

Places people can visit and live in for a-time

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25
Other names for story words
Subcreated worlds, secondary, diegetic, Constructed,imaginary, media
26
Interface
Concrete material object that helps open the door to another imaginary universe
27
Interfaces involve...
Touch, not just sight (all senses)
28
Physical immersion
The user is physically surrounded by constructed experience
29
Conceptual immersion
Relies on imagination
30
In an immersive theme park...
All the **material** things can be used to create amood in guests
31
Suspension of disbelief
The willingness to accept the world of imagination as real
32
The **authenticity ** of the Santa Claus village lies in
Its representational connection to the idea of Christmas and Santa Claus
33
Shared illusions
Interpretation something is real
34
Immersive theatre
Surrounds audiences within an aesthetic space in which they are frequently but not always free to move and/or participate
35
Spectatorship
Act of viewing and engaging with
36
Once spectatorship is acknowledged
As an embodied and potentially affective activity, all performance has potential to bean immersive activity
37
In immersive theatre...
The audience is participants
38
Dark rides
Format of immersive media that originated in the amusement parks of the USA in the early 20th century
39
Thematic journey
Even before the concept of the theme park had arrived, the dark ride design created the sense of a fantastic but sequential journey that could be understood and engaged with before the experience began.
40
360 degree imagery
In the 1950s new “wall-less” track designs placed items away from simply the front viewing position of the cart, forcing the rider to look, left, right, above & behind
41
Triggered sound
1954, in Sylvan Beach, Laffland features great examples of rudimentary sound devices that required no electricity to function. At various moments in the Laffland ride, a thud and a crash are heard from outside of the riders facing direction, without any visual cue
42
Light and touch
Where lighting is completely mediated and controlled, the use of haptic feedback can be applied to enhance the illusion and the feeling of unease in the dark ride design
43
Characteristics of themed restaurants
 There is an organizing concept or narrative that is drawn from widely-known cultural resources;  The narrative is made visible and tangible in the physical structure of the restaurant’s interior and very often of its exterior;  Eating is not the central defining feature of a visit to a themed restaurant
44
Eating is
Not the central goal of a themed restaurant
45
Other features shared with other restaurants
restaurants: • The menu is typically standardized and the dishes are designed to facilitate efficient production and presentation. restaurants: • There is an emphasis on accessibility in two senses: First, in terms of literal geographical accessibility, which usually involves proximity to large population centres and/or well-developed transportation facilities (usually by road), and; Second, in terms of the cultural accessibility of the thematic motif, i.e. it must be readily comprehensible to large sections of the prospective client population
46
Parodic restaurant
primarily concerned with engaging patrons’ imagination by placing them in ‘the stylized atmosphere and theatrical setting of a reconstituted reality’. ...the ambience is created by emphasizing diversion and entertainment and by relying upon devices drawn from ‘popular and stereotyped ideas and images’
47
Objective authenticity in tourism
When a place is historically and factually authentic
48
Constructed authenticity
When a place **feels ** real to tourists even if its not historically accurate
49
Existential authenticity
When a place makes you feel a deep emotional connection, regardless of historical accuracy
50
Climate Change
Strong evidence that human action is a key driver in the current warming of the atmosphere and that the process will exert significant impact ON humanity
51
IPCC
Warming of climat system is unequivocal
52
Uncertainty w/ Climate Change
The **speed** at which change will occur and the extent of that change
53
GHG (green house gases)
Carbon dioxide, methane, ozone, sulfur hexafloride, nitrous oxide
54
Greatest contributor to Climate Change
1.burning a fossil fuels, two agricultural activities, 3. Slash and burn deforestation
55
Climate Change interest grew slowly through…
The 1970s and early 1980s
56
Interesting climate change grew strongly in the
Early 1990s
57
Tourism is both a______&______ in climate change
Contributor and victim
58
Two face framework for regional destination, adaptation to climate change
Phase one involves in assessment of destinations, vulnerability, and resistance, then determining the adaptive capacity of destination Phase 2 focusses on increasing the destinations, resilience, resistance, and readiness
59
60
____+_____+_____ theme continues to dominate much of the climate change impacts research agenda
Victim, winner, loser
61
Enhance temperatures in the mid latitudes may well reduce the_______ Attractions of some Mediterranean and longer hall destinations
Relative
62
Importance of travel during climate change is on the________ markets climate
Originating
63
The impact of a changing climate will be felt
Unevenly
64
The near term scenario of climate change will result in a red distribution of tourists affecting
1.destination choice, 2.vacation satisfaction, 3.destination, competitiveness
65
This type of tourist just happens to be visiting a destination betrayed in a film
Serendipitous
66
The tourism industry is a_______ in relation to climate change
Contributor and victim
67
Phase 2 of the framework for regional destination, adaptation to climate change among other things…
Increases readiness
68
Victim, winner________ theme continues to dominate much of a climate change impacts research agenda
Loser

Geo 2144 Quiz 2 (1 decks)

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