اولویت بندی فعالیت های بازاریابی گردشگری فیلم (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
گردشگری فیلم از دهه 1990 مورد توجه قرار گرفته است و برخی کشورها فعالانه در ترویج آن تلاش کرده اند. هدف این مقاله اولویت بندی فعالیت های بازاریابی گردشگری فیلم است. بدین منظور از مدل فرصت های بازاریابی گردشگری فیلم هادسون و ریچی استفاده شده است. در این پژوهش که از نوع تحقیقات توصیفی پیمایشی است جامعه آماری تهیه کنندگان فیلم و سریال شهر تهران و ابزار سنجش، پرسشنامه است که به روش نمونه گیری قضاوتی و گلوله برفی توزیع شده است. از ۸۰ پرسشنامه توزیع شده، ۴۷ عدد مؤثر بوده است؛ داده ها با نرم افزار SPSS تحلیل شده است. طبق نتایج آزمون تی تک گروهی، همه مولفه ها از سطح اهمیت بسیار زیادی برخوردارند و نتیجه اولویت بندی مولفه ها با استفاده از آزمون فریدمن حاکی از آن است که استفاده کردن از تأثیر فیلم اولویت نخست را داراست. اطلاع رسانی به عموم با استفاده از رسانه، تشویق استودیوها/شرکت های فیلمسازی برای ساختن فیلم در لوکیشن، و ترویج لوکیشن فیلم به ترتیب در اولویت های بعدی هستند. شاخص های هر یک از این مولفه ها نیز اولویت بندی شده است.Prioritizing Film Tourism Marketing Activities
ExtendedSince 1990, film tourism has become more noticeable and discussed and some countries have started to promote it more actively. The purpose of this research is to identify and prioritize film tourism marketing activities in Iran. For this purpose, film tourism marketing activities were discussed in previous research literature. Hudson and Ritchie (2006) created a film tourism marketing opportunities model that formed the basis for later research. In this study, this is the type of applied, descriptive-survey research incorporated, which producers of films and TV series in Tehran used for statistical population and assessment. In order to obtain this information, the researcher created a questionnaire, which, by using judgmental and Snowball sampling method, was distributed and completed. 80 questionnaires were distributed and 47 effective questionnaires were collected. The data was analyzed with SPSS software and research findings discovered, according to the results of one-sample T test, all indicators are very important. The result of the Friedman test prioritization criteria is as follows: leveraging the film, generating media publicity, encouraging studios to film in location, and promoting film locations. Finally, components of each of the indicators are prioritized and based on the findings and, in order to promote film tourism in the country, necessary proposals are presented. Introduction The influence of films on consumers' lives has led to tourism destination selection. According to Butler (1990), people often choose their tourist destination depending on what they have seen at popular audiovisual means. Spectators, therefore, become strongly motivated to visit cinematic locations. Films create images for represented places; these images survive for decades and create an identity for the destination. All countries try to promote their tourist products by using various marketing techniques. It seems that, while traditional advertising techniques have realized diminishing effectiveness, communication, via product placement, is better targeted, more sophisticated and more widely received) Vagionis and Loumioti, 2011). In a survey conducted with 140 destination-marketing organizations around the world, Hudson and Ritchie (2006) found that 96% of respondents admitted that they should be more active in drawing on tourism-inducing film production (Rosch, 2010:224). Nevertheless, due to the prevalence of English films, there is a shortage of research concerning films shot in non-Western settings and not in the English language. The literature also revealed that there is a deficiency of information and studies on the issue of film-induced tourism in the Middle East (Soliman, 2011). Since film tourism is a new concept in Iran's tourism industry, this article seeks to provide guidelines for film tourism marketing opportunities in the country. Materials and Methods This is an applied, descriptive-survey study from the research method perspective. Data is gathered through secondary and primary sources. The assessment tool is a questionnaire, which is designed based on the Hudson and Ritchie (2006) film tourism marketing opportunities model. The questionnaire is divided into two sections. The first part includes questions regarding the following areas: 1) gender 2) age 3) experience in the film industry 4) making or not making a film intended to introduce a tourist attraction, and 5) familiarity with film tourism. The second part asks respondents to indicate on a Likert-type scale of 1 to 5 how important each of the 31 marketing activities is for generating film tourism. The designed questionnaire is delivered to the professors of the field of tourism and its validity is verified. The questionnaires were distributed in April, May and June 2012. Producers of film and television series in Tehran form the statistical population. 80 questionnaires using judgmental and snowball sampling were distributed and 47 effective questionnaires were collected. Discussion and results SPSS (Statistical Package for the Social Sciences) was used for the statistical analysis. After testing the questionnaire, the overall Cronbach's coefficient alpha was 0.93. The Kolmogorov Smirnov test for normality showed that the distribution was normal. Appropriate analysis was made by utilizing one sample T-test and Friedman. Table (1): One-Sample Test Test Value = 3 T df Sig. (2-tailed) Mean Difference 95% Confidence Interval of the Difference Lower Upper Generating media publicity 12.015 46 .000 1.18493 .9864 1.3834 Leveraging the film 13.835 46 .000 1.11525 .9530 1.2775 Encouraging studios to film in location 6.125 46 .000 1.37589 .9238 1.8280 Promoting film locations 10.425 46 .000 1.08215 .8732 1.2911 Mean Rank Mean Rank 2.93 Factor 1: Leveraging the film 7.93 Produce a “Making of the Film” feature 7.18 Engage the film’s stars to promote the film location 6.31 Attract media attention at each release window 5.84 Engage in promotional activity with film companies 5.18 Host events that continue the pull of the film 4.97 Plan activities to promote other tourism sectors 4.54 Replicate or maintain film icons/sites/scenes/sets 4.47 Post signage and interpretation at the location 4.34 Sell film memorabilia 4.25 Sponsor the film directly 2.69 Factor 2:Generating media publicity 6.24 Ensure media coverage mentions film location 5.03 Maximize the impacts of postproduction exposure 4.91 Assess a film’s merit in terms of its promotional value 4.86 Provide images for media or tour operators 4.50 Invite travel media to film location 4.31 Negotiate end credits for the destination 3.37 Create links to destination on the film Website 2.77 Invite travel media to special release of the film 2.63 Factor 3:Encouraging studios to film in location 2.89 Be actively involved in location scouting 2.74 Appoint an executive or PR specialist 2.28 Actively promote the destination to film studios 2.09 Offer grants and tax credits 1.76 Factor 4:Promoting film locations 5.62 Engage in joint promotions with tour operators 5.45 Create exhibits or displays of film memorabilia 5.29 Post links on Website to film tours 5.27 Develop a dedicated Website for potential tourists 4.94 Promote hotels and guest houses used in films 4.90 Produce film and site maps for tourists 4.78 Package attractions to lengthen tourist stay 4.46 Have guided tours and/or film walks 4.29 Work with other organizations to promote locations Table (2): Results of Friedman Test Conclusion In this research, film producers care a lot about all the marketing activities. Therefore, it can be stated that the two main groups of film tourism stakeholders (film industry in this research and DMOs in Hudson and Ritchie (2006) study) have confirmed the importance of the all film tourism marketing activities. Due to the prioritization of these two groups of film tourism, the idea of Heitmann (2010) was confirmed. For the film producer, because of the use of leveraging, the film is the most important factor, and they care about promoting the film that is their main concern. However, in terms of DMOs of Hudson and Ritchie, research promoting film locations was the most important factor. Therefore, it is recommended that the activists in the tourism industry make activists in film industry sure about the common cooperation and the success of the film and its economy. Also, it is necessary during the film-making process to clear all copyright laws and for the tourism stakeholders and the film company to negotiate about that from early on. Activists in the tourism industry should have a lawyer specialized in media law to observe the copyright laws and logical affaires related to film properties before spending any funds on film tourism promotion materials. Keywords: Marketing, Film, Film and TV Series Producers, Film Tourism References: Azad Armaki, T. (2000). The T.V. in Iran: An instrument for development or a symbol-maker, Nameye Olum-e- Ejtema'i, 14: 3-20. Beeton, S. (2005). Film-Induced Tourism, Clevedon: Channel View Publications. Busby, G. and Klug, J. (2001). Movie-induced tourism: The challenge of measurement and other issues, Journal of Vacation Marketing, 7(4): 316-332. Hahm, J. and Wang, Y. (2011). Film-induced tourism as a vehicle for destination marketing: Is it worth the efforts? Journal of Travel & Tourism Marketing, 28:165–179. Heitmann, S. (2010). Film tourism planning and development–Questioning the role of stakeholders and sustainability, Tourism and Hospitality Planning & Development, 7(1): 31-46. 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