Innovation and Best Practices in Hospitality and Tourism Research – Jamal et al (eds)

© 2016 Taylor & Francis Group, London, ISBN 978-1-138-02932-3

An assessment of the relationship between screen tourism

and viewers’ travel intention

N. Sumarjan & M.N.I. Ismail

Universiti Teknologi MARA (Puncak Alam), Malaysia

A.H.K. Nur Farihin

Universiti Malaysia Kelantan, Kelantan, Malaysia

ABSTRACT: The usage of movies as product promotion began since the late nineteenth century. Evidences by
previous scholars around the world proved the effects of film and television in increasing the growth of tourist
attraction. The increment of tourist visitation numbers to film destinations is due to the powerful impact of airing
popular media products such as films or television shows. Nevertheless, as compared to other countries that
employ films in promoting their destinations, studies on screen tourism particularly in Malaysia are still very
limited. Thus, this paper fills the gap in examining the psychological drivers in a film or TV show that encourages
tourist visitation, from the Malaysian viewers’ perspectives. Grounded with the 3P’s (Place, Performance and
Personality) Pull Factor theory suggested by Gjorgievski and Trpkova (2012), this paper examines the relationship
of screen tourism Pull Factors namely “Place”, “Performance” and “Personality towards viewers’ travel intention.
Data was collected from Malaysian viewers’ using a self-administered questionnaire and was analyzed using
Statistical Program for Social Analysis (SPSS) version 20 in order to obtained some meaningful results. Findings
revealed to have given some implication not only to the academician, but also to the practitioner, namely the film
makers, destination developers and promoter as well as relevant tourism authorities. By using this theory and
understanding the fundamentals of screen tourism, it could have an impact on future postmodern tourist trends.

Keywords: Screen tourism, 3P’s pull factor, travel intention

1 INTRODUCTION movie-induced tourism. Evidences from around the

The film tourism is regularly referred to as film-
induced tourism, movie induced tourism or screen
tourism, where tourist visits are motivated by viewing
a film location on-screen (Connell, 2012; Hudson &
Ritchie, 2006). Since the early 1990s, academicians
have studied the linkage between film television and
tourism; this was the era where screen tourism gained
recognition and influenced the tourism discipline
(Kim & Wang, 2012). The power of film and television
in promoting a tourism destination is well recognized
and has been numerously researched (Connell, 2012;
Croy, 2011; Wearing, Buchmann & Jobberns, 2011;
Connell & Meyer, 2009; Choe, 2009; Connell, 2005).
Movies and films have attracted many people to visit
the location they have watched (Riley, Baker and Van
Doren, 1998).
At the same time, audiences were brought into a
new world, letting the viewers to explore and expe-
rience various emotions through movies and films
(Gjorgievski & Trpkova, 2012). However, the author
suggested that this situation is not directly related
to tourism promotion campaigns; instead, this phe-
nomenon is the effect of film-induced tourism or
world were highlighted by Connell (2005), which
could proved the effects of film and television in
increasing the growth of tourist attraction. Several
films were mentioned in previous literatures that were
able to promote certain destinations as tourisms prod-
uct and lure tourists to visit its locations (Butler,
2011; Macionis & O’connor, 2011; Horrigan, 2009;
Kraaijenzank, 2009; Busby & Klug, 2001). For
instance, Gjorgievski and Trpkova (2012) pointed out
New Zealand and Australia as a few prime examples
of top tourist destinations due to the popularity of their
movies such as “The Last Samurai”, “The Lord of the
Rings”, “Crocodile Dandy”, “Mad Max” and “Mis-
sion Impossible 2”. The authors also named several
world famous studios namely Hollywood, Bollywood,
Kustendorf and Nu Boyana that are producing plentiful
movies and at the same time serve as popular filming
sites.
Furthermore, Beeton (2005) agreed that much of
the recent academic literature focusing on reproduc-
tion or supporting the earlier screen tourism studies
as well as highlighting the role of films in pro-
moting tourism has not specifically added to the
body of research. Thus, Rewtrakunphaiboon (2009)

193
encouraged further research on the critical success
of the film tourism and the psychological aspects
of tourist behavior in visiting film locations. Stud-
ies on film industry were merely focused on major
global film industry like Hollywood in the United
States of America and Bollywood in India (Rosnan,
Ismail & Mohd Daud, 2010). Therefore it can be said
that the studies on film industry within Malaysia is still
scarce. Perhaps, typically local Malaysian films were
produced and targeted mainly for local consumption
(Rosnan, Ismail and Mohd Daud, 2010). This may be
one the primary causes for Malaysia not being partic-
ularly known for its film products, not forgetting its
screen tourism.
However, on the brighter side, the acceptance of
Malaysian film products for international market is
undeniable as one of Malaysian film titled “Bunohan”
directed by Dain Said was chosen to be screened at the
ASEAN Film Festival (AFF) in Bali (Bernama, 2011).
It is proven that Malaysian government had already
aiming to turn Malaysia into an attractive shooting
destination (Rosnan & Abdul Aziz, 2012). In other
words, if the screen tourism phenomenon is not primar-
ily focused on understanding and studying how screen
tourism comes into play, the local screen tourism field
will continue to be inadequate and the prospect of
the tourist product in many destinations may not be
affective (Kim, 2012).
This study fills the gap in understanding the con-
cept of screen tourism and studying the dimensions
that encourage viewers’ visitation to a film location
This study intends to examine the linkage between 3P’s
Pull Factor of screen tourism which might lead to trig-
ger the viewers’ intention to visit film destinations.
From an academic perspective, the originality of this
research will contribute to a new body of knowledge
of screen tourism and 3P’s Pull Factor theory as there
is little research in these areas, especially in Malaysia
context. Besides, to the researcher’s best knowledge,
no local researchers have conducted empirical investi-
gation which systematically examines the correlation
between screen tourism 3P’s Pull Factor (Place, Perfor-
mance and Personality) and viewers’ intention to visit
film destination. This study could also help in assist-
ing the relevant agencies such as Ministry of Tourism
and Culture to aggressively make use of Malaysia film
industry in promoting local destinations.
2 LITERATURE REVIEW
2.1 Screen tourism
The idea of screen tourism phenomenon was fur-
ther elaborated by Busby and Klug (2001) indicat-
ing the range of impacts likely to occur caused by
movie induced tourism phenomenon. The fundamen-
tals of filming are all about drama and motion of
pictures, very different from plastic arts as photogra-
phy and painting (Vagionis & Loumioti, 2011). When
researches on film tourism commenced, it was domi-
nated by subjects within the United States of America
194
and United Kingdom. It was then followed by a rising
attention from Australasian, Asian and European per-
spectives (Connell, 2012). Hence the study of screen
tourism is actually an untapped and a silent field of
tourism research.
Croy, (2011) contended that in order to enhance
the awareness of the destination, the film industry
needs to be linked to the destination and in most big
screen situation this is not happening automatically.
A good example of film tourism mentioned by Con-
nell (2012) is the Bollywood phenomenon, where India
has become one of the most productive film maker
and audiences of film and cinema. New Zealand and
Australia are other examples of destinations that have
known as “film friendly”, due to cooperation between
the tourism and film industries (Hudson, 2011).
2.2 Screen tourism 3P’s pull factor
Pull Factor is a travel motivation concept that explains
tangible and intangible cues that attract people to a
specific destination, such as natural and historic attrac-
tions, food, people, recreation facilities, and marketed
image of the destination (Che & Yang, 2011; Lam &
Hsu, 2006). Rewtrakunphaiboon (2009) highlighted
that films can induce viewers to travel to the film-
ing locations due to the scenery and landscapes, the
themes, the plots, the events and actors, which even-
tually influence the audience’ thoughts, emotion and
attitudes towards the places.
Gjorgievski and Trpkova (2012) noted that a person
desires to visit a particular place, which is attractive
because they have seen the location on the screen.
During early studies in film-induced tourism, natu-
ral scenery was initially thought as the main attraction
the screen possessed and it was recognized as a moti-
vational pull factor for audiences to visit the film des-
tinations (Riley, Baker & Van Doren, 1998; Tooke &
Baker, 1996). It seems that the attractiveness of the
landscape and natural adventure provide viewers with
enough motivation to overcome the negative aspects of
storyline (Beeton, 2005). Meanwhile as in the case of
Disneyland launching in 1955, it was the first purpose-
built official location to Disney characters and became
one of the most successful sites in inducing viewers to
visit the places (Karpovich, 2010).
Tooke and Baker (1996) suggested that tourists may
want to experience at least part of what was portrayed
in the film as not to merely gazing at the film loca-
tions. For instance, it was found that besides high
production values and beautiful scenery, impressive
storylines is one of the elements that have made Korean
soap operas popular and famous among local and inter-
national viewers (Potipan & Worrawutteerakul, n.d).
Although the storylines were based on different times
or eras such as portrayed in the movie “Pride and Prej-
udice” adaptation, is it also possible that some of the
tourists would intend to visit the sites associated with
the historical period aired on their screen (Karpovich,
2010).
Fascination with the famous and infamous is not
new in tourism industry where in the late 20th and
early 21st century; contact with famous person makes Table 1. The coefficient range and strength of association
an individual feel more worthy (Beeton, 2005). Kim, (Hair et al., 2007).
Robinson and Long (2006) also agreed that by endors-
ing the celebrities as the spokesperson for a particular Coefficient Range Strength of Association
product, it would lead to higher trustworthiness, pro-
±0.91 to ±1.00 Very Strong
viding a stronger image of the product, and a signif-
±0.71 to ±0.90 High
icantly increase the buyers’ intention to purchase it. ±0.41 to ±0.70 Moderate
Similarly, Woodward (2000) found that Visit Britain ±0.21 to ±0.40 Small but definite relationship
makes effort in order to get endorsements from Bol- ±0.01 to ±0.20 Slight, almost negligible
lywood actors to promote British locations, believing
that the actors could add kudos to a destination for
many Indian and Asian potential visitors. For instance,
many fans are impressed by Korean television dramas Table 2. Correlation analysis between screen tourism 3P’s
due to the good look of the stars that appear in pub- pull factor and viewers’ travel intention.
lic with modern dressing, Korean make-up and their
hairstyle (Potipan & Worrawutteerakul, n.d). Travel
In short, film locations regarded to have attrac- Intention 1* 2* 3*
tions and sights that are easily reached and draw
the attention of visitors at any time and at all sea- Pearson Travel 1.000 0.611 0.590 0.653
Correlation Intention
sons (Vagionis & Loumioti, 2011). Moreover, Hudson,
1* 1.000 0.396 0.341
Wang and Gil (2011) also reported in their study that 2* 1.000 0.476
those who were motivated to travel by the film were 3* 1.000
especially influenced by the scenery, landscape and Sig. Travel – 0.000 0.000 0.000
the cultural attractions of the destination as depicted (1-tailed) Intention
in the movie. Besides, destination image portrayed in 1* 0.000 0.000
film and movies also influences the intentions and 2* 0.000
decisions of potential travelers due to intangible desti- 3* –
nation products and limited knowledge regarding the
destination (Lee, n.d). *1-Place Pull Factor, 2-Performance Pull Factor,
3-Personality Pull Factor

3 METHODOLOGY
According to Beeton (2005), in screen tourism related
studies, quantitative data alone is rarely adequate to
clarify the prospect and post-travel experiences of
postmodern film-induced tourists. Therefore the deci-
sion to employ self-administered questionnaire for this
study was made to fill the gap for this base.
Kim and O’Connor (2011) argued that most of the
previous studies on screen-tourism did have not used
a structured questionnaire instead applied qualitative
approach, resulting lack of appropriate instruments
to measure items for their research as well. In other
words, the researcher require some time to reconstruct,
draft the questions and arranges the items based on the
objectives, supported by the variables stipulated in the
study framework.
Convenience sampling method is applied to this
research with samples among Malaysian viewers who
had watched any television programs or movies within
a six month period. The researchers prompted a screen-
ing question (“Have you watched any television pro-
grams or movies within a six month period?”) to ensure
that the samples’ watching experience is still fresh.
4 ANALYSIS AND FINDINGS
By using the primary data, supported with secondary
data, the researcher was able to answer the research
questions. There are 44 males (25 percent) and 132
females (75 per cent) in the sample, giving a total
of 176 respondents. The relationship between Screen
Tourism 3P’s (Place, Performance and Personality)
Pull Factor theory and viewers’ travel intention was
investigated by using Pearson Correlation (r) analysis.
With regards to determining the strength of the rela-
tionship among variables, it is based on the size of the
value of Pearson correlation (r). Pallant (2005) sug-
gested that the Pearson correlation (r) value can range
from −1.00 to 1.00, while Hair et al. (2007) illustrated
the strength of association as in Table 1.
By referring to the results shown in Table 2, there is
no negative association between the variables of 3P’s
Pull Factor with visit intention.
This study found there was a moderate relation-
ship between the screen tourism 3P’s Pull Factor and
travel intention. However, there is small but definite
correlation between Place Pull Factor towards Per-
formance and Personality Pull Factor. The Place Pull
Factor had significant and positive correlation towards
viewers’ travel intention perhaps because they could
openly observe the physical environment of the film-
ing locations from their television screens. However, it
depends on how “eye-catching” the location is accord-
ing to the viewers’ perspective. Thus, it can be said
that even though Place Pull Factor had positive cor-
relation with travel intention, different viewers would
have their own opinion in defining the attractiveness
of the film sites revealed in films or TV shows, which
could affect their travel intention. In relation to the

195
Performance Pull Factor, the results also showed a
significant and positive correlation to viewers’ travel
intention. The Performance Pull Factor is assumed
to have increase the sentiment of being at the film
location and indirectly induce the viewers’travel inten-
tion. Finally, Personality Pull Factor was also found
as having significant and positive correlation towards
viewers’ travel intention. The researcher believed that
movie star and famous person who involved in films
or TV shows act as spokesperson that might induce the
viewers travel intention to film locations. Without the
existence of the spokesperson, it is considered as dif-
ficult for the film producer and destination marketer
to promote and “sell” the product, which in this case,
the location or destination.
5 LIMITATION AND RECOMMENDATIONS
It is undeniable that this study has its fair share of limi-
tations. Primarily, the research of screen tourism nature
is still at its infancy stage in Malaysia. Thus, there is an
insufficiency of literatures related to this field at local
setting, compared to abroad. Therefore without much
option, this research was generally dependent on liter-
atures from established overseas journals, publications
and even unpublished papers. Due to geographical and
cultural differences, the results of studies conducted
somewhere else can be used as guidelines; however it
does not really reflect the actual situation in Malaysia.
As the Malaysia tourism industry is very short on
scientific and empirical research on screen tourism,
additional studies in screen tourism area should be
conducted to further investigate the phenomenon. As
such, these are some suggestions by the researcher
for future research on screen tourism studies. To be
more beneficial, the future study should also be con-
ducted at specific research settings to further evaluate
the theory that relates to the study model. Finally,
replication of this study could be more valuable by
including the Push Factor theory in the study model
in order to investigate the viewers’ travel intention to
film locations.
Hence, with the result discovered, it encourages the
practitioners to gain more information on the drivers
of screen tourism and prepared a suitable plan or
strategies to improve current screen tourism practices.
Researches of this nature will certainly improve the
local body of knowledge and provide importance to
the tourism and film industry at large.
ACKNOWLEDGEMENT
This research is funded by Universiti Teknologi
MARA through Research Acculturation Grant 600-
RMI/RAGS 5/3 (134/2013).
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