i

The Impact of Animated Film on Tourists’

Perceptions and Expectations of a Cinematised

Destination: The Case of Rio.

By

David Santiago Salinas

A dissertation submitted in partial fulfilment of the requirements

for the award of the degree of Master of Tourism

Department of Tourism

School of Humanities and Creative Arts

Flinders University

October 2014

ii

Table of Contents

Abstract .................................................................................................................................... vi

Declaration ............................................................................................................................. viii

Acknowledgments .................................................................................................................... ix

Chapter 1 ................................................................................................................................... 1

Introduction .............................................................................................................................. 1

1.1 Background of the Research ............................................................................................. 1

1.2 Aims and Objectives ......................................................................................................... 5

1.3 Thesis Structure ................................................................................................................ 6

Chapter 2 ................................................................................................................................... 8

Literature Review ..................................................................................................................... 8

2.1 Introduction ...................................................................................................................... 8

2.2 Film tourism and research perspectives ............................................................................ 9

2.3 The impact of film on prospective tourists’ perceptions ................................................ 10

2.3.1 Film genres: A determinant for film tourism? ......................................................... 15

2.3.2 Production values: determinants for film tourism? .................................................. 18

2.3.3 The effect of film in pre-visit stages and expectation formation ............................. 22

2.4 Destination image ........................................................................................................... 24

2.5 The link between film tourism and destination image .................................................... 27

2.6 Conclusion ...................................................................................................................... 30

Chapter 3 ................................................................................................................................. 32

Research Methods ................................................................................................................... 32

3.1 Introduction .................................................................................................................... 32

3.2 Research aims and objectives ......................................................................................... 32

3.3 Research background ...................................................................................................... 33

3.3.1 Rio the Blue Macaw Film ........................................................................................ 33

3.3.2 Rio de Janeiro – the wonderful city ......................................................................... 34

3.4 Research design .............................................................................................................. 36

3.4.1 Justification for method ........................................................................................... 36

3.4.2 Sampling .................................................................................................................. 40

3.4.3 Data collection ......................................................................................................... 41

3.4.4 Data analysis ............................................................................................................ 45

iii

3.5 Conclusion ...................................................................................................................... 46

Chapter 4 ................................................................................................................................. 47

Findings and Discussion ......................................................................................................... 47

4.1 Introduction .................................................................................................................... 47

4.2 The demographics of participants ................................................................................... 48

4.3 Thematic analysis and frequencies ................................................................................. 50

4.4 Prospective tourists’ perceptions about Rio de Janeiro .................................................. 51

4.4.1 Social issues and safety............................................................................................ 51

4.4.2 Physical landscape ................................................................................................... 54

4.3.3 Cultural events ......................................................................................................... 57

4.4.4 Local food ................................................................................................................ 59

4.4.5 Friendly locals ......................................................................................................... 62

4.4.6 Natural resources ..................................................................................................... 65

4.4.7 Cultural and natural icons ........................................................................................ 68

4.5 Affective component ...................................................................................................... 70

4.6 Tourists’ expectations ..................................................................................................... 72

4.7 Conclusions .................................................................................................................... 74

Chapter 5 ................................................................................................................................. 78

Conclusions .............................................................................................................................. 78

5.1 Introduction .................................................................................................................... 78

5.2 Empirical findings .......................................................................................................... 79

5.3. Theoretical and practical implications ........................................................................... 80

5.4 Research limitations and suggestions for future research ............................................... 83

References ................................................................................................................................ 85

Appendices .............................................................................................................................. 92

Appendix 1: Participant Documentation .............................................................................. 93

1.1 Letter of Introduction ...................................................................................................... 93

1.2 Information Sheet ........................................................................................................... 94

1.3 Consent Form ................................................................................................................. 96

Appendix 2. Recruitment of Participants ............................................................................. 97

2.1 Physical Billboard ........................................................................................................... 97

Appendix 3. Interview Questions .......................................................................................... 99

3.1 Pre-interview Questions .................................................................................................. 99

3.2 Post-Interview Questions .............................................................................................. 101

Appendix 4. Venue Bookings Schedules magic .................................................................. 102

iv

Appendix 5. Research Memorabilia for Participants ........................................................ 103

Appendix 6. Table of Films used as Examples along the Literature Review .................. 104

Appendix 7. Ethics Approval by University ....................................................................... 105

List of Tables

Table 1: International Tourism Forecast of Brazil 2010-2014 ................................................. 36

Table 2: Ranking of the most Visited Cities in Brazil 2014 ..................................................... 36

Table 3: Participants’ Demographics ........................................................................................ 48

Table 4: Themes/Subthemes emerged from the Thematic Analysis ........................................ 50

List of Graphics

Graphic 1: Social Issues and Safety .......................................................................................... 51

Graphic 2: Physical Landscape ................................................................................................. 54

Graphic 3: Cultural Events ....................................................................................................... 57

Graphic 4: Local Food .............................................................................................................. 59

Graphic 5: Friendly Locals ....................................................................................................... 62

Graphic 6: Natural Resources ................................................................................................... 65

Graphic 7: Cultural and Natural Icons ...................................................................................... 68

Graphic 8: Affective Component .............................................................................................. 70

v

vi

Abstract

The concept of film tourism has gained increasing significance among practitioners and

academics in the tourism industry. Although numerous studies have analysed the impact

of film in destination images, researchers have excluded animated film, despite their

similarities. The reasons why some films influence tourists’ perceptions and

expectations of a destination, and are also used by tourism practitioners to leverage their

chosen destinations in the competitive tourism market, depend primarily on factors such

as emotional engagement, and genre and production values, as well as secondary

considerations such as high market penetration, accessibility and increasing

consumption.

This study explores how tourists’ perceptions and expectations in regards to Rio de

Janeiro were influenced after the intervention of the animated film Rio (2011). Tourists’

perceptions are seen in this study as evaluations of cognitive and affective components

of destination image. Prospective tourists without previous tourism experience with Rio

de Janeiro were interviewed before and after viewing the animation. It found that the

participants’ images, knowledge, beliefs, affections and expectations were significantly

changed in some cases. A thematic analysis of 19 interviews allowed the development

of cognitive attributes that were categorised under the themes of social issues and safety,

physical landscape, cultural events, local food; friendly locals; natural resources;

cultural and natural icons. Affective attributes were related to Russell’s (1980) scale:

unpleasant-pleasant; sleepy-lively; gloomy-exciting and distressing-relaxing;

expectations were analysed separately.

vii

The study confirmed some of the concepts relating to film tourism and their impacts in

prospective tourists’ perceptions and expectations. The characteristics of animated film

were seen as one part of the overall influences influencing prospective tourists’

perceptions. This study tested the methodological approach and suggests that similar

approaches with larger samples could elicit additional findings. Also, quantitative

approaches and other animated films portraying destinations should be considered.

viii

Declaration

I certify that this work does not incorporate, without acknowledgement, any material

previously submitted for a degree or diploma in any university; and that to the best of

my knowledge and belief it does not contain any material previously published or

written by another person except where due reference is made in the text.

___________________________

David Santiago Salinas October 31, 2014

ix

Acknowledgments

First and foremost, I would like to express my sincere gratitude to my advisor Dr. Sean

Kim for his continuous support throughout the study and research for this Master's thesis,

for his patience and immense knowledge.

My sincere thanks goes to the Ecuadorian Government for funding my degree and to

the entire Flinders Tourism Department for providing me with invaluable experience

and knowledge and for encouraging me to work on diverse exciting projects.

I thank my fellow classmates from the University and good friends: Rebecca Uphill,

Cassandra Raymond, Marko Savovic, Nina Stankovic, Nathan Bathy, David Ferrier,

Stephanie Salas, Desmond Victory, Raj Karunanithi, Megumi Yagi, Wendy Jap a Joe,

Gregorius Suri and Chan Woo Nam for their support and friendship while realising this

thesis; thanks also to all the interview participants who generously shared their time and

experience.

Lastly, I would like to thank my family: my parents Nancy and Jorge for their constant

support and love and to my daughter Meli and her mother Yadi for being my constant

source of inspiration during my studies overseas.

1

Chapter 1

Introduction

1.1 Background of the Research

This research is located under the umbrella of academic tourism discourses on the

relationship between film and tourism. Places that have been portrayed in films or TV

series have resulted in growing tourism; this phenomenon is termed ‘film tourism’ or

‘film-induced tourism’ (Beeton, 2005), ‘movie-induced tourism’ (Riley et al., 1998),

and ‘screen tourism’ (Connell, 2005; Kim, 2010). The term ‘film tourism’ is considered

as most appropriate due to its prevalent use in the tourism literature. A strand of film

tourism literature has focused on the marketing perspective of the impacts of film in

image formation and tourists’ perception (Iwashita, 2006; Kim & Richardson, 2003;

Shani et al., 2009; Connell, 2012; Bazanez & Ingram; 2013; Dung & Reijnders, 2013;

Pan & Tsang, 2014). Filmic images can mould people’s imageries, beliefs, knowledge

and affections towards the people, places and cultures depicted, ultimately generating

tourism demand (Kim, 2012; Beeton, 2005; Iwashita 2006; Roesch, 2009). Film is

considered an information source, among others, that can influence people’s perceptions.

Once the information is processed in people’s minds, a meaningful mental concept is

formed, largely known as a ‘destination image’ (Assael, 1984; Leisen, 2001; Gartner,

1993; Baloglu et al., 1999; Echtner & Ritchie, 2003; Tasci & Gartner, 2007). Film is

regarded by some as an autonomous image formation agent that influences cognitive

and affective image components of a destination (Kim & Richardson, 2003; Tasci &

2

Gartner, 2008). Thus, tourists’ perceptions proposed in this study represent cognitive

and affective evaluations of a destination.

Films may also raise awareness and develop expectations of tourists' experiences

of the depicted location (Connell, 2012; Beeton, 2005; Kim, 2012). However, little

research in the field has focused on the impact of different film genres on tourists’

attitudes and expectations (Kim, 2012; Beeton, 2005; Kim & Long, 2012; Butler, 2011).

Much film tourism discourse has assumed that popular films, especially globally

released ‘blockbuster’ movies designed for mass audiences, have the greatest influence

on prospective tourists (Kim, 2011). While live-action, non-animated films have been

the focus of research in film tourism, minimal consideration has been given to the role

of ‘blockbuster’ animation films in shaping destination images. Disney-Pixar, 20th

Century Fox and Studio Ghibli, to mention only a few, have produced many animated

films over the years that have influenced audiences worldwide; some have left an

indelible impression since childhood.

The experience of film viewing can contribute to the formation of destination

images that can be perceived by audiences as less promotional marketing-induced

images (Schofield, 1996 as cited in O’Connor et al., 2010). It is well recognised that the

film industry has created ‘incidental’ images that serve promotional purposes from the

perspective of tourism practitioners (Hudson & Ritchie, 2006). Therefore, tourism

academics and practitioners have acknowledged the need for research and strategically

3

managed destination images in order to obtain the most insights and benefits from film

(Croy, 2010).

Butler (2011) suggests that the influence of film on audiences depends on key

factors such as genre, the director’s or animators' style and production values (Kim,

2012). Further, Kim et al. (2012), argue that the genre determines the production,

distribution and marketing for specific target audiences. While many people assume that

animation movies are targeted at, and are mostly consumed by children, animations like

live-action film can represent any kind of genre, and influence any type of audience and

their perceptions of a portrayed destination. Likewise, an animated film’s production

values, such as music, characters, narrative, location and visual techniques, could play

a key role in prospective tourists’ interpretations of a destination. Beeton (2005)

suggests animated film be utilised for film tourism since this genre is just as significant

as any live action film. Interestingly, some animated films are being used by tourism

officials in some countries in their tourism campaigns (e.g. Disney-Pixar Brave (2012)

by the Scottish Tourism Board and Frozen (2013) by the Norwegian Tourism Board).

Hence, an exploration of tourists’ perceptions and expectations of Rio de Janeiro before

and after the depiction of the popular 20th Century Fox animated film Rio (2011) is

carried out.

Limited studies have been done on the image of Rio de Janeiro, and very few

also on Brazil and South America, in the Anglo-Saxon education system. Hence, it is

important to explore the importance of the tourism phenomenon in a broader

international context. Some Anglo-Saxon studies have focussed on Brazil and South

4

America, but not Rio de Janeiro and its mass media image. An exploratory study of

Brazil’s image conducted in 2002 by Rezende-Parker, Morrison and Ismail (2002)

among Americans with an interest in travel and tourism, revealed they perceived Brazil

to have many natural attractions, a pleasant atmosphere and was unique. Their negative

perceptions included being frightened of the crime and violence. Interestingly the study

demonstrated that Brazil was not clearly differentiated from other South American

countries. Therefore it is important to analyse perceptions of a unique destination, so as

to elicit specific data and understand the region as a whole in depth.

The world sporting community has long acknowledged the appeal and

uniqueness of Rio de Janeiro which was named the host of the FIFA (Fédération

Internationale de Football Association) World Cup final played in July 2014, and the

Summer Olympic and Paralympic Games which will take place in 2016. At the end of

the 2014 World Cup, the Big Sporting Events Special Coordinator, Joel Benin, declared

that the event was a great success for Brazil and South America, as local and regional

development and worldwide acknowledgement was achieved. He also pointed out that

more than 1 million tourists arrived in Brazil just for the World Cup, and 95% of them

indicated they were willing to return to Brazil. Moreover, he declared that Brazil was

ready for organising any global event, and he greeted the planning for the upcoming

Olympics 2016 in Rio de Janeiro with enthusiasm (EMBRATUR (Instituto Brasileiro

de Turismo – Institute of Tourism, Brazil), 2014).

5

Despite the positive projections of inbound tourists to Brazil and Rio de Janeiro,

internal social issues presented to the world by the mass media may have an impact on

a positive image of Brazil. EMBRATUR and some Brazilian tourism stakeholders

cannot control the outcomes of this, and thus prospective tourists are left to make up

their own minds in interpreting a destination image of Brazil and its cities. Consequently,

official tourism bureaus and tourism practitioners are constantly trying to interpret

through the eyes of the tourists, the image or reputation of a destination in the tourism

market.

This study adopts a different perspective. A qualitative approach has been used

as it contributes to the body of knowledge by approaching the analysis of perceptions

not in terms of preconceived qualitative models, but by analysing the respondents' words.

1.2 Aims and Objectives

As pointed out earlier, scant tourism research on popular animated films has been done

despite its similarity with live-action film. Theories about, and empirical evidence on,

the impact of the media in forming an image of a destination suggest that animated film

can also shape, reinforce or change people’s perceptions and expectations in regards to

a destination. This study aims at testing the relationship between animation and tourism

in the context of film tourism. Further, it tests a different methodological approach,

which may well be used in later studies if proven effective.

6

Efforts towards positioning a positive and appealing image of Rio de Janeiro as a tourist

destination should consider all available resources. In this study, it is proposed that film

tourism become a resource for further research on Rio de Janeiro’s image.

Aim

To explore the impact of the animated film Rio on prospective tourists’ perceptions and

expectations of Rio de Janeiro before and after the film intervention.

Objectives

To examine tourists’ perceptions of Rio de Janeiro before and after the

screening of the animated film Rio;

To examine tourists’ expectations of Rio de Janeiro before and after the

screening of the animated film Rio;

To compare tourists’ perceptions and expectations before and after the

intervention of the animated film Rio;

To report how tourists’ perceptions and expectations were influenced by

the animated film Rio.

1.3 Thesis Structure

The dissertation is organised into five chapters:

Chapter one examines the research background. An outline about the influence of film

in tourists’ perception and tourist behaviour is briefly described. This chapter highlights

7

the rationale of the research, and addresses the research aim and objectives. Chapter two

examines the current literature on the potential of films to influence tourists’ perceptions

and expectations. The relationship with film tourism is highlighted. Chapter three

addresses the research methods used to explore the influence of films on tourists’

perceptions and the formation of a destination image. Chapter four presents the research

findings and discusses the implications for the destination in regards to the changes

produced by an animated film. Chapter five provides the research conclusions, the

implications for film-induced tourism and suggestions for future research.

8

Chapter 2

Literature Review

2.1 Introduction

The literature review covers the relevant works on the subject examined by this study.

Film tourism inspired this research into tourists’ perceptions and expectations from the

perspective of marketing and the psychology of image formation. Although some

research has been conducted on the impact of film on audience’s perceptions (Kim &

Richardson, 2003; Iwashita, 2008; Shani et al., 2009; Warnick et al., 2005), none has

used animated film. This chapter discusses the relevant literature that underpins the

relationship between film tourism and destination image perceived by audiences

without previous tourist experience with the destination under study.

This chapter begins by defining film tourism and exploring its research

perspectives (Section 2.2). The influence of film on prospective tourists’ perceptions is

discussed in (Section 2.3). Section (2.4) addresses destination image discourses; the

relationships with film tourism will be further scrutinised (Section 2.5). A summary of

the academic literature that has been reviewed is found at the completion of the chapter

along with a reaffirmation of the research inquiry (Section 2.6).

9

2.2 Film tourism and research perspectives

Evidence worldwide shows an increasing number of tourists visiting places depicted in

film or TV (Iwashita, 2007; Connell, 2012; Roesch, 2009; Beeton, 2005; Kim, 2012;

Croy, 2010; Soliman, 2011; Hudson & Ritchie, 2005; Connell, 2008; Dung & Reijnders,

2013). This phenomenon is referred to as ‘film tourism’. What film tourists look for is

a highly personalised experience, a unique interpretation of the media material they have

consumed (Macionis, 2004). Tourists/audiences are motivated to become film tourists

through curiosity, amusement, respect, pilgrimage or the wish for vicarious experience

(Kim et al., 2007, p. 103). Although film producers do not always intend to attract

tourists, films focussing on specific destinations provide opportunities for those places

to become more competitive in the growing tourism market. Warnick et al. (2005) argue

that an effective film can enhance the charm of locations depicted (as cited in Connell,

2012), and can effectively influence audiences’ imaginations (Schonfield, 1996),

knowledge, beliefs and affections (Kim & Richardson, 2003) especially if the narrative

and the location are interrelated (Beeton, 2005).

Discussions on the scope of film tourism research take two different approaches

as Connell (2012) reveals. One focuses on management and marketing. The aim of this

approach is to determine the implications, opportunities and challenges of film

destinations, or film productions, and the practical application of management strategies

in tourism. The second point of view is derived from the cultural perspective of film

viewing, and explores the theoretical reasons that stimulate, contribute to and explain

film tourism activity, meaning and responses. Beeton (2005), concluded that film

10

tourism research can be applied to study film tourism motivations, film as a part of a

holiday, celebrity tourism, film as nostalgia, constructed attractions, film tours, theme

parks, festivals and film as vicarious travel. Accordingly, film tourism definitions and

research approaches are relevant to various disciplines such as cultural geography, film

and media, psychology, marketing and management (Connell, 2012).

2.3 The impact of film on prospective tourists’ perceptions

Common sense seems to indicate that cinema-going or film viewing is not related to

tourism activity given that it is unlikely that all audiences will travel to places depicted

in films, otherwise, film tourism would be considered mass tourism. Rather, audiences

can be considered as prospective tourists who may possibly travel one day to a place for

a variety of reasons which may be totally or partially linked to what they have seen on

the big or small screen. Urry (2002) argues that films are windows for the ‘tourist gaze’.

He suggests that tourism involves a collection of signs, daydreaming and anticipations.

For instance, the film Paris Je t’aime (2006) is a portrayal of love stories set in romantic

Paris. Consequently, the likely perception and idealistic experience of a tourist in Paris

is romance and love. Dung and Reijnders (2013) examined the influence of movies on

Chinese tourists’ imaginations during their visit to Paris. Tourists developed media-

inspired fantasies, and the image of Paris in relation to film was sometimes reinforced

but also challenged during an actual visit. Although the romantic fantasy remained, the

actual visit challenged that perception with dirty spots, racial diversity and locals’

impoliteness.

11

Karpovich (2010), in commenting on the impact of films on audiences, refers to

the nostalgic feelings aroused in immigrants who saw their homeland presented in the

Italian film Dal Vero. Dal Vero-type films are comprised of shots of cityscapes that

attempt to re-create for the audience a sense of journeying through the city. Film plays

a key role in influencing human emotions in a short period of time, ultimately triggering

tourism motivational reactions towards the people, places and cultures depicted, known

as ‘pull’ factors. Pull factors partially arise from the appealing attributes of a cultural

landscape and images portrayed by a film (Connell, 2012; Macionis, 2009).

Films are diverse in the way they represent genres and places, and arguably only

some may have an impact on prospective tourists. Mestre et al. (2010) argue that

spectators give themselves up to fictional films, suggesting that film captures the

audiences’ sub-conscience and colonises spectators’ minds effectively with images and

narratives, creating a reality effect. Kim (2012) suggests that the impact of romantic and

idealistic content of telenovelas (TV soap operas) and the effect of sustained

consumption by audiences, is driven by vicarious experience. Even though conventional

wisdom seems to connect animated films with children’s entertainment, animated films

and cartoons can influence audiences as well. Indeed, it is suggested by Pikkov (2010)

that animated films depict reality more objectively than non-animated film, because

they can capture the essence of the theme by representing it, rather than reproducing it.

Therefore, animation cannot be pushed aside from the type of film that impacts

audiences’ perceptions and expectations about a portrayed destination.

12

Frost (2010) proposes that uniqueness, combination of stories, themes and myths

are key to boosting the appeal of filmed places to audiences. The combination of

narrative and storytelling (narrative is storytelling) used in movies can deeply affect

one’s visual interaction with a film. Frost (2010), who carried out a study of film tourism

in the Australian outback, suggests that filmmakers are storytellers who know that

compelling stories, characters and situations engage film viewers effectively. The

mixture of these plus scenic images influences movie audiences or potential tourists by

presenting a ‘promise’ of how it might be if they travel to that location. Namely, filmed

scenes featuring the Australian Outback and its narrative content promise a ‘life-

changing experience.' Similarly, some other films that propose life-changing narratives

and heroism are The Beach (2000) and Motorcycle Diaries (2004). Besides these,

Japanese anime’s most prominent producer, Hayao Miyasaki, has mastered the narrative

to portray ‘awakening experiences’ in films such as Ponyo (2008) and Spirited Away

(2001), among others.

Research has acknowledged that an emotional storyline or transformational

narrative can be appealing for viewers, as shown by Kim (2012), Kim and Richardson

(2003) and Beeton (2005). Sampaio (2014) claims that storytelling in film offers the

opportunity for the viewer to become immersed in themes, myths, characters and

narrative tension. The storytelling functions as a catalyst for engagement before, during

and after the viewing experience. Also, repeated viewing of a film can generate

familiarity with the destination, thus resulting in a desire to participate in experiences

based on the film (Kim, 2012; Roesch, 2009). Additional prompts within a film can be

13

in the depiction of icons, such as Big Ben of London, the Petronas Towers of Kuala

Lumpur, the White House in Washington or Central Park in New York. These can

become the focus of interest to the viewer, thus delivering familiarity and eventually

triggering their travel decision-making (Hudson & Ritchie, 2006). Likewise, music can

be used as a hook of familiarity because of its unique association with specific cultures

(e.g. bagpipes with Scotland and samba with Brazil). However, as Kim and Richardson

(2003) note, excessive familiarity can be a detrimental factor by making the viewer lose

interest through over-familiarity.

Film can create bridges between disparate cultures by creating awareness and

expectations of different cultural landscapes (Tasci, 2009). For instance, Japanese anime

can form links with Latin-American culture and raise expectations in that audience with

original stories and depictions of Japanese culture and landscapes. Likewise,

mainstream animated films such as Mulan (1998) and Kung Fu Panda (2008) depict

Chinese cultural landscapes. It is suggested that these animations can already develop a

‘sense of place’ as they represent real physical and cultural landscapes. Furthermore,

Jewell and McKinnon (2008) believe that films have the capacity to generate new

cultural landscapes that eventually become part of the place’s identity. This occurs, for

instance, in the movie The Lord of the Rings (2001-2003). It created a unique identity

for New Zealand with its depiction of Middle Earth, through showcasing the unique

mountainous terrain of New Zealand in the fictional story. Cultural landscape is

designated in film tourism as the location and its associated assets, story and scenery

that eventually become icons (Jewell & McKinnon, 2008). Riley et al. (1998) argue that

14

physical and thematic icons in a film can become a focal point for film tourists (e.g.

Devil’s Tower in Close Encounters of the Third Kind (1977); Hobbiton in The Lord of

the Rings (2012)). Furthermore, Urry (2002) suggests that visual consumption through

media transforms places into attractions.

Film can deliver real or unreal, authentic or inauthentic, positive or negative

images of a destination, depending on the film's type and genre. The “authenticity of a

film deals with a combination of facts, imaginations and myths; not necessarily

scientific historical evidence, rather an experience and a new reality based on tangible

remains which are the film’ locations” (Herbert 2001; Jawell & Crotts, 2001; Frost,

2004 as cited in Jewell & McKinnon, 2008, p.155). Film can alter the sense of the

authenticity of a place (Butler, 2011). For instance, many people may question the

authenticity of a place depicted in an animated film even though the place is an image

inspired by reality (Pikkov, 2010). For example, the savannah and jungle portrayed in

the Lion King (1994) are real places, represented through animation. Butler (2011)

argues that even though the film site is clearly fictitious, prospective tourists would still

like to visit. For instance, the Disney-Pixar production UP (2009) represented the

Venezuela Tepuy and the Angel Falls. Interestingly, for the creation of the animated

image of this site, the animators visited the Tepuy before the making of the film. It is

indeed a representation of a real place, inspired by reality, which is highly attractive due

to its uniqueness and greatness.

15

Nowadays, advanced technology allows the enhancement of destination

attributes via digital technologies, interactive multimedia, animated content and

computer generated images. Computer generated content and animation in this regard

can enhance the attributes of destinations as well. Animated film can positively

influence a destination image because of the feasibility of the animator to enhance the

destination attributes using technological applications. Furthermore, animation is all

about bringing lifeless objects to life (Pikkov, 2010). Arguably, the enhancement of the

physical environment can be crucial in creating a meaningful effect on the audiences.

2.3.1 Film genres: A determinant for film tourism?

When it comes to the topic of the diversity of film, a widespread assumption exists

among film tourism discourses that only popular movies or ‘blockbuster’ movies have

an influence on prospective tourists (Kim, 2011). Other types of film could contribute

with findings regarding different types of tourist markets. For instance, Soliman (2011)

argues that little research has been done on the opportunities for domestic film to

develop domestic and regional tourism. Soliman suggests that the natural and romantic

scenes of Al-Fayoum captured in the film Captain Hima (2008) influenced Egyptian

audiences to visit there.

Kim and Long (2012) and Beeton (2005) also acknowledge that there has been

little discussion on different film genres. Kim et al. (2009) recognise that genre is a key

element of analysis, since audiences make their film choices based on the film's genre;

16

indeed, producers develop marketing with this in mind (as cited in Kim, 2012).

Moreover, genre can play a significant role in film tourists’ motivation, expectation and

anticipation, even their experiences (Kim & Long, 2012; Butler, 2011). Kim and Long

(2012, p. 175) write “each genre might possess inherently different experiential and

production characteristics with potential implications for the nature of film tourism

spaces and subsequent tourist expectations and experiences”. Genres such as romance,

comedy, fantasy, horror and adventure have yet to be further analysed within the film

tourism discourses. Either the type or genre of film can be a motivation for attracting

different types of tourism (Kim, 2010). Empirical evidence on serialised TV toddler and

drama programs clarifies this occurrence. Balamory (2002-2005), a popular toddlers’

series has increased toddler tourism (i.e. families with toddlers) to the Isle of Mull in

Scotland, to the extent of raising tourism sustainability concerns among the Scottish

Tourism Board (Connell, 2008). Likewise, the Korean TV drama Winter Sonata (2002)

attracted Asian tourists in an unprecedented way to the filmed locations (Kim, 2010).

Basanez and Ingram (2013) suggest that it is possible for audiences to "lose"

themselves while watching a fictional story. Mestre et al. (2010) maintain that fictional

cinema colonises spectator imagery by effectively capturing audiences. It has been

argued that eventually the genre is the trigger for a destination becoming a tourist

attraction (Butler, 2011). Furthermore, the importance of the location can depend to a

certain degree on the film's genre, as this can be linked to certain themes, such as the

Wild West (e.g. Django Unchained, (2012)) or war films (e.g. Saving Private Ryan,

(1998)). The fantasy genre has demonstrated that although the setting is not real, tourists

17

still want to experience them; for instance, the 9 ½ platform depicted in the Harry Potter

movies was reproduced at Waterloo Station in London as a tourist attraction because of

its popularity. This is surely evidence, then, that a film's genre and location can create

fictional tourism attractions, as suggested by Butler (2011).

Basanez and Ingram (2013) proposed four categories of film that have an impact

on tourism: 1) animated film; 2) documentaries; 3) motion pictures made from original

stories; and 4) films based on novels, people and historical events. Similarly, Beeton

(2005) suggests that film encompasses a variety of screen media such as TV, movies,

videos and DVDs. Within these categories, the film genres are endless and could rank

from drama to action, sci-fi to war film or comedy to horror or more.

Animation is a technique for representing film rather than a genre (Pikkov,

2010); in addition, animators have high-tech resources and skills to enhance stories, and

create foregrounds, backgrounds, environments and characters. Animation refers to a

“presentation of still images in a manner that creates an illusion of motion in viewer's

mind” (Pikkov, 2010, p. 14). Pikkov (2010) argues that the animator creates an illusion

rather than reproducing it, and is therefore able to deliver a more objective message.

Animated movies have been shown to be an effective communication medium because

they deliver meaningful messages efficiently. For instance, ecological messages are

communicated in films such as Princess Mononoke (1997), Wall – E (2008), and Avatar

(2009). To some extent, animation is also widely used in advertising and PR campaigns

18

(Pikkov, 2010). James (2013, p. 27) noted that “animated film restores our senses on

how vividly cinema can imagine events rather than merely being a record of characters

speaking to each other”. Pikkov (2010) suggests that animated films are appealing to

audiences, most importantly because individuals constantly seek visual originality and

stories that develop myths and totems. Jewell and McKinnon (2008) argue that myths

can guide actions and hide the truth. Indeed, animated film, although it may not be

conceived of as realistic, can still develop powerful myths about the destinations

portrayed.

Moreover, all genres lend themselves to animation and can be distributed to a

range of different audiences. For instance the animated ‘blockbusters’ made by big

American corporations that focus on families, are able to reach a broad range of

audiences, probably broader than specific film genres such as drama or action movies.

The consumption of animated film may be due to personal inclination or circumstances.

Similarly, some argue that the depiction of destinations in animated films could develop

imagery and knowledge about, and affection towards the depicted location in an original

way, and probably in a more effective way than live-action films can do.

2.3.2 Production values: determinants for film tourism?

Croy (2011) summarises several possible reasons why a film can be recognised as a

‘tourism inducible film’: picturesque physical environments; association and

reinterpretation of stories; thematic content creating pilgrimage attractions; celebrities;

19

human relationships that can become part of peoples' lives like those depicted in the

movie; and novel activities presented in the film. Kim (2012) associates these with

‘production values’ and argues that production values can act as motivational drivers

and eventually develop focus points that influence audiences to become film tourists.

He argues that these qualities have been overlooked in the film tourism field, and

suggests the following production values: a) narrative and storyline; b) location; c)

celebrities and characters; d) visual technique and music.

Narrative and storyline.

Narrative and storyline refers to the stories told in the film and descriptions of the film.

Shankar and Goulding (2001) suggest that the narrative is socially and historically

conditioned to human understanding (as cited in Kim, 2012). Kim (2012) argues that a

narrative creates the context for the anticipation of possible tourist attractions and

experiences. Moreover, strong, consistent storylines, lead to stronger involvement and

greater familiarisation with characters and film locations, and can ultimately trigger

tourism (Kim, 2012). Furthermore, notions of travel presented in film narratives can be

transformational sources (Sampaio, 2014).

Location.

There is no doubt that the destinations portrayed in a film can attract tourists (Iwashita,

2006; Govers et al., 2007; Croy, 2011; Kim, 2012; Soliman, 2011). The combination of

idyllic and extraordinary landscapes can trigger audiences' responses, and film locations

20

can become ritual places for tourists (Couldry, 1998 as cited in Kim 2012). However,

the location is a secondary element, a backdrop, in films and is probably not important

to most film viewers. Yet it can be important to audiences contemplating places to visit

(Butler, 2011). It is suggested that the location gains importance in a film depending on

the genre, the inclination of the director, the plot and the budget (Butler, 2011). Beeton

(2005) acknowledges that since not all the film settings are accurate to the specific place

where the story takes place, this could actually be beneficial for promoting film tourism.

Apart from its physical environment and coordinates, each destination possesses

tangible and intangible cultural assets such as wildlife, architecture, cultural values and

customs, to name a few (Convery et al., 2012). From a management perspective, a 'sense

of place’ is a mixture of the unique natural and cultural characteristics of a destination

(Weaver & Lawton, 2010). Hall and Page (2006) argue that the social, environmental

and physical assets of a destination, correspond to the space and place of people’s

enjoyment of leisure and entertainment (as cited in Connell, 2012). Crouch (2000)

argues that this enjoyment can be either physical, metaphorical or imagined (as cited in

Connell, 2012), thus offering the possibility of developing awareness or sense of place

through secondary source stimulation like film. Hence, it is argued that people’s

perceptions of a destination can be considered as an imagined ‘sense of place’, which is

built on people’s perceptions of information sources and imaginations.

21

Celebrity and character

These days audiences are fascinated by their favourite actors and actresses and

celebrities and other notables are vitally important in developing an empathic

involvement with viewers (Kim, 2012). This deep involvement, say Ballantine and

Martine (2005), sometimes disorientates viewers when they identify closely with

characters portrayed in the media, and thereby activating links with the real world (as

cited in Kim, 2012). For example, female audiences often form emotional attachments

to the characters in TV dramas. Celebrities and characters have been acknowledged by

tourism researchers as key in impacting affective perceptions; creating close

relationships with audiences is partly explained by para-social interactions (Kim, 2012).

These one-sided relationships can produce a meaningful relationship between the

viewer and celebrity/character (Kim, 2012). Ultimately the viewer’s attention is drawn

to the locations where these characters interact. Kim and Richardson (2003) further state

that such intense involvement between audiences and film characters could change

tourists’ affections towards a place and they suggested that viewers' ardent involvement

with the characters in the film Before Sunrise (1995) could significantly change their

perceptions of Vienna, although this was not confirmed in the experiment.

Visual techniques and music.

All of the technology, apparatus and editing skills used to create the representations of

characters are important as they provide different points of views and different forms of

artistic expression. Technology enhances the viewing experience while also employing

22

the elements cited above. Kim (2012) argues that the visual, aesthetic and technical

combination of these elements can facilitate the steady flow of fantasies, pleasure,

excitement and fun, producing a post-modern tourist experience. This process is crucial

in animated films in order to bring the narrative, characters, colours and virtual spaces

to life. Also, tourism academics acknowledge that in current times, technological

advances can increase the convenience and popularity of tourism (Beeton, 2006; Kim,

2012). Music is a strong contributor to enhancing emotional experiences in films (Cohen,

2011 as cited in Kim, 2012). Indeed, music impacts on people’s feelings, and can induce

a sense of nostalgia. In animated film, music is a key contributor in bringing the whole

creation to life.

2.3.3 The effect of film in pre-visit stages and expectation formation

The role of film in pre-visit stages confirms familiar or develops complex tourists’

perceptions and images of destinations, hence developing a sense of possible tourist

experiences or expectations (Croy & Heitmann, 2011). Foxall (1990) claimed the

importance of the consumer cognition in order to understand consumer behaviour.

Crouch et al. (2004, p. 4) stated “consumer choice is portrayed as an ego – involving

sequence of cognitive, affective and conative which precede and predetermine the

purchase/no purchase outcome". Likewise, tourism products involve the cognition

sequence of purchase decisions that are related to the destination image components that

ultimately influence tourist behaviour (Tasci & Gartner, 2007; Hudson et al., 2011; San

Martin & Rodriguez del Bosque, 2007; Baluglu & McCleary, 1999).

23

Three phases of consumer behaviour were identified by Tasci and Gartner

(2007): pre-purchase; purchase; and post-purchase phases. Tourism pre-purchase, or the

pre-visit stage, plays a crucial role in configuring expectations that ultimately are

confirmed or rejected during the actual visit. The pre-visit stage is mostly based on

images and imaginaries related to the tourism product and experience (Kim, 2012).

Indeed, prospective tourist markets construct place awareness, availability and

evaluation based on images, eventually securing tourists’ choices (Baloglu & McCleary,

1999; Croy, 2010).

It is of great importance for tourism destinations to understand the early

formation of awareness, perceptions and expectations in order to foresee the possible

implications and the impacts of film on potential tourists. Urry (2002, p.13), believes

that tourists “do not seek satisfaction from products, from their actual selection,

purchase and actual use. Rather the satisfaction stems from the anticipation, from

imaginative pleasure seeking”. In other words, the perceptions developed by film boost

enjoyable imaginations of how likely an experience will be in the place portrayed prior

to visiting it (Kim, 2012). Additionally, Iwashita (2006) suggests that cinematic images

portraying locations add to pre-existing images, resulting in an overall image. Moreover,

film alters knowledge, beliefs and affective images of the destination depicted (Hudson

et al., 2011). Also, tourists collect information that develops a mental prototype of what

the experience might be (Tapachai & Waryszak, 2000). Likewise, a gap is created

between the prospective tourists’ ideal image and the actual destination image, which

24

determines the destination expectations. These gaps may represent developments to be

considered in regards to a destination image (Croy, 2010).

Gnoth (1997) argues that the management of tourist expectations is extremely

important as these influence tourists’ choices and perceptions of experiences (as cited

in Rodriguez del Bosque et al., 2009). Tourists’ favourable expectations towards a

destination will likely influence a comparison with other destinations expectations.

Rodriguez del Bosque et al. (2006) argue that the key factors in tourists’ expectations

are the preconceived images of the destination. Finally, Govers et al. (2009) suggest that

destinations face the challenge of exploiting impressions by moulding perceptions and

ultimately developing the right expectations.

2.4 Destination image

Destination image is defined as “an interactive system of thoughts, opinions, feelings,

visualizations, and intentions towards a destination” (Tasci et al., 2007, p. 200). Baloglu

and McCleary (1999) proposed an attitudinal construction in regards to a place based

on knowledge (beliefs), feelings and global impression. Also, McKay and Fasenmaier

(1997, p. 538) define destination image as “the compilation of beliefs and impressions

based on information processing from a variety of sources over time, resulting in an

internally accepted mental construct”. Destination image therefore refers to people’s

perceptions constructed by physical or other experiences. In other words, destination

image represents the destination attributes sets in a person’s mind in regards to a place.

25

Among some of the roles of destination images, and the ones related to this

research, are creating expectations, changing them, and constructing and reinforcing

images. One of the consensus points among tourism practitioners is that the

development of destination image is crucial for the positioning, promotion and success

of a destination in the competitive tourism market (Baloglu & McCleary, 1999; Tasci

& Gartner, 2007). Kim and Richardson (2003) argue that what you know and how you

feel about a destination determines the willingness to visit that destination. Furthermore,

Crompton (1979) and Galarza et al. (2002) claim that destination images are more

important than physical attributes, since perceptions instead of reality, are what make

people act or not. Overall, it is clear that a perceived destination image is key in

determining the success of a destination (Kim & Richardson, 2003).

Tourism researchers have struggled to establish factors to perform destination

image measurement. Under the work of Echtner and Ritchie (1991), researchers have

used and developed destination attributes from psychological/intangible and

physical/tangible factors in order to understand current destination images of countries

(Baloglu & McCleary, 1999; Yilmaz et al., 2009; Tapachai & Wariszak, 2000). These

factors for destination attributes such as scenery/natural attractions,

friendliness/hospitality, costs/prices, climate, sites/activities, and

nightlife/entertainment among others have been greatly used in quantitative studies.

Most research in the destination image arena has adopted structured attributes that have

been criticised for failing to include holistic elements and to capture the

26

multidimensionality of the image concept. Indeed, Tapachai and Waryszak (2000) argue

that these predetermined factors by researchers might fail to reflect key attributes or

may set irrelevant attributes, thus suggesting the use of unstructured research

approaches via open-ended questions in order to obtain free and relevant image

attributes from respondents that could later create new categories. Besides, Gartner

(1993) suggested that destination image has three dimensions;

Cognitive: what individuals know and think of a destination;

Affective: how an individual feels about the destination; and

Conative: how an individual acts towards the destination.

According to Genereux, Ward and Russell (1983): “the perceptual/cognitive

component is the knowledge about the place’s objective attributes whereas the affective

counterpart is knowledge about its affective quality” (as cited in Baloglu & McCleary,

1999, p. 870). A four affective image scale was initially developed by Russell (1980),

which establishes the scale for the classification of the positive and negative feelings

towards a destination. These are: unpleasant-pleasant; sleepy-lively; gloomy-exciting

and distressing-relaxing (as cited in Shani et al., 2009).

Gartner (1993), and Kim and Yoon (2003) suggest that these factors can be

studied individually in order to gain further understanding on their effect. Last but not

least, Gartner (1993) argues that cognitive, affective and conative elements are

hierarchically interrelated. Agapito et al. (2013) confirmed this interrelationship and

27

suggests that a greater image affective component evaluation tends positively to

influence cognitive and conative components in regards to loyalty, word of mouth and

overall image (Baloglu & McCleary, 1999). However, Gartner’s destination selection

process is closer. This therefore suggests a weakness in the above hierarchical

interrelationship.

2.5 The link between film tourism and destination image

Image construction is based on individuals’ imaginations or interpretations of existing

images in communication channels. As acknowledged by tourism researchers, film as

autonomous/independent agents are influential in destination image formation (Tasci &

Gartner, 2007; Beeton, 2006; Kim, 2012). Indeed, visual information obtained from film

influences consumer behaviour variables such as a destination image, destination

desirability, visit intention, and bridges social distance (Tasci, 2008). Also, images

portrayed by a film impact the perceivers in regards to their knowledge, affection and

action towards the destination (cognitive, affective and conative). It is this evaluation of

impacts of autonomous agents in viewers’ cognitions that has the most implications for

image management and Destination Management Organisations (DMO’s) (Croy, 2011).

Film in general has been acknowledged as generating appeal and familiarisation

with destinations (Connell, 2012). Movies are continually consumed and are efficient

media for increasing awareness, appeal and profitability. Riley, Baker and Doren (1998)

suggest that film has the ability to: 1) enhance images through special effects, movie

28

stars and computer animation; 2) in-home access to the locations being portrayed; 3)

longer exposure periods than traditional promotional material; 4) longer periods of

vicarious interaction; 5) a context that tourist experiences can be grounded; and 6)

rereleasing opportunities (Tooke and Baker, as cited in Riley et al., 1998) without

considerable promotional costs for DMO’s.

When acknowledging that film can result in a significant increase of tourism

visitation, researchers started to study the relationship between film images and

visitation to screened locations (Riley, Baker & Dore, 1998). Also, the effect of

serialised TV dramas and the increased visitation numbers (Kim, 2012), and the impact

of film in destination images (Kim & Richardson, 2003) became a topic of research.

The latter study investigated the impacts of the drama film Before Sunrise (1995) on

cognitive and affective components of destination image. An experimental design

applied with a post-viewing control group revealed that the effects of the movie on

image components were significant, as well as for the interest in visiting Vienna.

However, the film does not increase the level of familiarity towards Vienna.

Considering the worldwide success of the Lord of the Rings trilogy and the

consequent success of tourism in New Zealand, Roesch (2009) attributes the success to

excellent branding and promotional campaign efforts, while noting that as a result of

effective marketing, film tourism does not depend solely on the events depicted in the

film. In a recent study, Hudson, Wang and Gil (2011) considered the sociocultural

29

variable to investigate the perception changes of students towards South America before

and after viewing the film Motorcycle Diaries (2004). Using factors from destination

image literature and pre-post viewing test, they determine the change in viewers'

perceptions and travel appeal towards South America along with cross-cultural

differences between Canadians, Spanish and American tourists. This particular study

observed cultural stereotypes and a slight relationship to product placement.

Lastly, Busby and Klug (2001) and Hudson and Ritchie (2006), argue that either

positive or negative images can be perceived by viewers in regards to the destination

portrayed in film. Furthermore, this can determine a destination’s reputation or

destination image, which consequently determines the tourists’ rejection of or interest

in the destination. Ultimately, tourism stakeholders may take advantage of the positive

or negative images developed for promotional purposes (O’Connor & Kim, 2013).

However, different research methods and film types are suggested. Connell

(2012) argues the need for moving from descriptive to explanatory approaches in order

to develop a more theoretical understanding of the film tourism phenomenon, therefore

this study aims at addressing this claim by using semi-structured interviews to see the

perceptual change before and after viewing an animated film portraying Rio de Janeiro.

Semi-structured interviews were used as these allowed multiple opinions to be gathered

and also match the researcher’s objectives. The questions were not fully decided on, but

30

could be clarified and explained in more detail, which allowed for further elaboration in

their responses (Jennings, 2010).

2.6 Conclusion

An exploration and discussion of the film tourism and destination image thematic was

discussed in this chapter. Definitions, empirical examples and perspectives where

presented, contrasted and argued. The main thematic of this revision concentrated in the

impacts of film in prospective tourists, and the possible determinants that can stimulate

tourists without previous experience to a destination. Film genre and production values

were unfolded and eventually compared to the unique characteristics of animation film

mainly suggested by Ulo Pikkov (2010).

Furthermore, the importance of the pre-visit stage in tourism was discussed in

order to obtain an idea on how audiences construct their perceptions of places in early

stages, and how this influences their behaviour. Positive, negative and biased images

can have implications in tourism, but still can be considered as useful for knowing about

the image of a destination and, furthermore, to understand the way these are perceived

by people and its managerial implications.

Lastly this chapter discussed the broad and complex subject of destination image.

Likewise definitions, construction and perspectives were grasped from this large subject

in order to find the linkage to film tourism. A chapter was dedicated to explaining past

31

studies in regards to the way film influences destination image and further implications.

Overall it is suggested that film as part of an information source, and as an autonomous

agent is an important agent that is perceived as credible, has a great market penetration

and can influence on peoples knowledge, beliefs and affections towards a destination.

The research in regards to the relation between film tourism and destination

image have mainly addressed live action film and used quantitative approaches. That is

the reason why the proposed study uses a different and original variable, such as an

animated film, and is approached with a quantitative methodology. Specifically, the

analysis focuses on the potential impact of animated film in tourists’ perceptions and

expectations of the destination portrayed.

32

Chapter 3

Research Methods

3.1 Introduction

This chapter presents the research design for addressing the research aims and objectives

of this study. It provides a detailed explanation of the research design and data collection,

and analysis in order to demonstrate the transparency of the process. Firstly, this chapter

establishes the research context in regards to the animated film Rio and the city of Rio

de Janeiro. Secondly, this chapter justifies the research design adopted. Finally, the

chapter provides details in regards to the data collection and analysis techniques.

3.2 Research aims and objectives

This case study examines and compares the perceptions of animation viewers without

previous travel experience to the destination Rio de Janeiro before and after viewing the

animated film Rio. The aim is to determine how an animation influences prospective

tourists’ perceptions and expectations towards Rio de Janeiro. Therefore, the following

research questions are addressed for this purpose:

What are the tourists’ perceptions and expectations of Rio de Janeiro before

viewing the animated film Rio?

33

What are the tourists’ perceptions and expectations in regards to Rio de Janeiro

after viewing the animated film Rio?

To what extend does the animated film Rio influence tourist’s perceptions and

expectations in regards to Rio de Janeiro?

3.3 Research background

3.3.1 Rio the Blue Macaw Film

The 20th Century Fox animated film Rio was selected for this study due to its incredible

portrayal of Rio de Janeiro’s cultural landscape. It is an adventure, musical story of a

Blue Macaw that goes backs to discover his roots in Rio de Janeiro.

This animated film is an enhanced display of Rio’s cityscape from a ‘bird’s eye’

(aerial) view. Iconic attractions such as the Sugar Loaf, Christ the Redeemer, Ipanema

Beach, Santa Teresa Tram, Sugar Loaf Mountain, Lapa Aqueduct and the Carnival at

the Sambadrome are finely portrayed. There is an emphasis on the ‘Carnival of Rio de

Janeiro’, one of the most globally recognised tourism events in the world (music,

costumes, parades and floats inform about the festival in detail). The set, characters and

music are combined to deliver the audiences a complete overview of Rio de Janeiro.

The favelas are shown as poor and dangerous; the beaches are represented as crowded

but the Carnival also shows the city’s appealing architecture and birds’ diversity. The

deep-rooted soccer culture, samba, fruit and racial diversity are also depicted and

apprise audiences about the diversity and attractiveness of Rio de Janeiro. The overall

34

view of Rio the film in regards to the city is a compelling picture of the cityscape, where

some conflicts arise and some negativity is depicted, however the nature of the

animation delivers an image that is far from negative.

The movie soundtrack is in English and Portuguese with a samba rhythm that

enriches the scenes and endears the audiences with the place. Also, the soundtrack and

background voices of the film and characters were performed by famous singers and

actors such as Jamie Foxx, Anne Hathaway, Carlinhos Brown and Jermaine Clement.

Last but not least, the animated film Rio was the 13th highest-grossing film in 2011 and

the box office collected approximately $484,635,760 worldwide (Box Office Mojo,

2014).

3.3.2 Rio de Janeiro – the wonderful city

Rio de Janeiro is a coastal city in Brazil known as ‘Ciudade Maravilhosa’ (Wonderful

City) and it was recognised by the UNESCO (United Nations Educational, Scientific

and Cultural Organisation) as a world heritage site in 2012 because of its unique cultural

landscape (UNESCO, 2014). Brazil’s second biggest city and old capital is a hub of the

‘carioca’ culture which is the term used in reference to the inhabitants and common

cultural elements of Rio de Janeiro, such as musical rhythms like Bossa Nova and sports

such as Foot-volley. Also, the carioca terminology can be used as an emblem in

reference to other unique aspects of Rio de Janeiro such as the ‘Carnaval do Rio’,

language dialect and unique samba styles in Rio de Janeiro.

35

Rio de Janeiro is located on the Atlantic Ocean coast close to the Tropic of

Capricorn. The city’s unique geography extends from the sea with tall and rocky hills

into the inland plains. Rio de Janeiro’s metropolitan population is estimated at 14

million inhabitants, making it the 6th largest in South America. Rio’s climate is a

mixture of tropical wet and dry savannah, temperatures range from 40° to 27° at the

lowest, which is generally warm, enjoyable weather. The city is divided in five zones:

historic centre (Centro), tourist-friendly wealthier zone (Zona Sud), the residential less

wealthy zone (Zona Norte), peripheries (Zona Oeste) and the wealthiest zone of Barra

da Tijuca. Among these zones, the attractions range from Portuguese heritage

architecture to the urban forest. Although Rio de Janeiro has a number of attractions and

advantages as a destination it has been inevitable to see the existence of social problems

and inequity typical of most South American destinations, specifically for those

registering high criminality rates, poverty and inequity.

Trip Advisor’s 2014 Traveller’s Choice Awards rank Rio de Janeiro as fourth

out of 25 in South America behind other cities such as Sao Paulo, Brazil, Cuzco, Peru

and Buenos Aires, Argentina. International tourists’ arrivals to Brazil have been

growing steadily over the last four years (Table 1). The unique geographical location of

Rio de Janeiro, diversity and authentic Brazilian culture makes it the most visited city

in Brazil in a local ranking (EXAME, 2013) (Table 2).

36

International Tourism Forecast of Brazil 2010-2014

Direct Indicator Unit 2010 2011 2012 2013 2014

Tourism Income US $ Billions 5.40 5.53 5.63 5.77 6.65

Indirect Indicators Unit 2010 2011 2012 2013 2014

Tourist arrivals Millions 4.86 4.93 4.96 5.05 5.72

Passengers arrivals Millions 6.54 6.59 6.66 6.93 7.20

Table 1. International Tourism Forecast of Brazil 2010-2014 Source (EMBRATUR)

Ranking of the Most Visited Cities in Brazil 2014

Table2.Ranking of most visited Cities in Brazil Source (EXAME)

Moreover, the world sporting community has acknowledged the appealing uniqueness

of Rio de Janeiro. In consequence, Rio de Janeiro was named the host of the FIFA World

Cup final played in July 2014, and the Summer Olympic and Paralympic Games to take

place in 2016.

3.4 Research design

3.4.1 Justification for method

This single case study explores the particular event of the impact of an animated film in

adult participants’ perceptions in regards to the destination Rio de Janeiro. ‘Case study’

Ranking

Destination

State

1st Rio de Janeiro Rio de Janeiro

2nd São Paulo Sao Paulo

3rd Foz do Iguaçu Parana

4th Salvador Bahia

5th Brasília Distrito

Federal

37

has been defined by Yin (2009, p.18) as “an empirical enquiry that investigates a

contemporary phenomenon within its real-life context”. Case study has been adopted to

seek, describe, explore and explain the complex and dynamic social systems (Smith,

2010). The multidisciplinary characteristic of film tourism justifies the use of a case

study. The subject theory, context and links can be outlined with a case study approach.

Furthermore, case study analyses the dynamics within a real-world context without

necessarily seeking to generalise or identify patterns that can be applied to different

situations and larger populations (Smith, 2010).

However, case studies have disadvantages related to their subjectivity rather

than objectivity of the research process. The positionality, epistemological and

ontological beliefs set the advantages or disadvantages regarding the subjectivity, for

instance it has been acknowledged that within the positivist and post-positivist context

subjectivity is a disadvantage (Bryman, 2012). Hence, the findings are specific to the

case study and therefore findings cannot be generalised (Jennings, 2010).

Epistemological position describes the way the researcher see the world. How he/she

thinks knowledge is created and shared and how he/she believe truth is defined (Masson,

2002). Accordingly, the epistemological understanding of the researcher was one of

being flexible in interpretations and procedures. Moreover, the researcher cultural

background as South American is seen as an advantage due to the nature of the study as

he can contribute clearly in the interpretation of data. Indeed this can be considered as

a point of trust and which enhances the trust and credibility of the study.

38

Case studies have been recognised as a valuable strategy in tourism studies

(Smith, 2010). Case studies have been acknowledged as strategies that allow a deep

insight into a phenomenon, including conclusions based on the context under study, also

involving the use of multiple methods and data resources (Smith, 2010). Thematic

analysis and frequency analysis are the main tools to determine the perceptual changes

in regards to the destination under study. A pre-post-test was used in order to compare

the perceptual changes on the research participants before and after the film input. The

primary source of evidence for this study was semi-structured interviews.

Smith (2010, p.185) writes that: “the case study approach is an inclusive research

paradigm covering the logic of research design, data collection and analysis. Hence the

case study approach is not merely a data collection tactic or research design — it is a

comprehensive research strategy”. However, a methodological base needs to be

established. This study follows a qualitative methodology as it gathers text-based

information (semi-structured interviews) for understanding the social reality, context

and attributes of the tourism phenomenon.

Qualitative methodology supports the case study proposed. It is upon the

empathetic understanding of the participants that the analysis is done. As Boas (1943)

states in regards to the principle of qualitative approach, “It is our serious purpose to

understand the thoughts of a people, the whole analysis of experience must be on their

concepts, not ours” (as cited in Jennings, 2010, p.166). The theoretical position that

39

informs the qualitative methodology is seen as a symbolic interaction – “This interaction

looks at the way humans act in relation to events based on a system associated with each”

(Jennings, 2010). These meanings eventually are modified over time through further

interactions. This premise underpins the research context, which argues that the current

mediatised world shapes people’s perceptions collectively in regards to places. In this

specific case, the animated film is part of the information environment. Charon (2004,

p.87) argues that “humans do not sense their environment directly, instead, humans

define the situation they are in. An environment may actually exist, but it is our

definition of it that is important. Definition does not simply randomly happen; instead,

it results from ongoing social interaction and thinking”.

Although qualitative research methods have faced academic resistance to the

point of being described as soft pseudo-scientific approaches that result in unscientific

and subjective work (Denzin & Lincoln, 2000 as cited in Masson, 2000), qualitative

methods have shown interesting advances and results, and have gained acceptance in

the fields of social research and tourism (Mayring, 2002 as cited in Smith, 2010).

Qualitative research instead involves analysis, explanations, argument building and

understanding of a complex phenomenon. It can also make use of some forms of

quantification, but does not use statistics. Masson (2002) suggests that results from

qualitative research allow argumentative interpretation, forming perspectives on how

things work in certain and/or differing, contexts.

40

In reality, what we are looking at is an intrinsic perspective described from the

insider's point–of-view of a media-driven world. Overall, the qualitative approach has

been selected, as it is uncommon among previous film tourism studies that have

commonly used quantitative approaches to analyse tourists’ perceptions influenced by

film. For instance, Kim and Richardson (2003), and Shani et al. (2009) explored the

perceived image of a destination by comparing participants’ perceptions before and after

a film input. Both used quantitative methodology which involved experimental study,

questionnaires and factor analysis. Tapachai and Waryszak (2000) argued that the

establishment of previous factors for destination image analysis by the researcher can

fail to capture a more holistic appreciation of participants’ perceptions, and misinform

key attributes of the destination.

3.4.2 Sampling

The logic of sampling for qualitative studies tends to be strategic and practical, and often

convenient. Bryman (2012, p.201) comments that convenience sampling may be fairly

acceptable to do when “the chance presents itself to gather data from a convenience

sample and it represents too good an opportunity to miss”. However, this will represent

a problem in generalisation, but it can be seen as a springboard for further research

(Bryman, 2012). For convenient sampling this study was held at the researcher’s

university, Flinders University in Adelaide, where the population is comprised of the

university community of students and staff. The research was advertised among the

university community through e-mail, social media and physical billboards (Appendix

2), as well as the researcher approaching potential participants face-to-face. 19

41

participants from among the university community that passed the eligibility criteria

and were diverse and proportional in accordance to gender, age, nationality and

activities undertaken at university committed to participate in the research. Adult

audiences, over 18 years old, were preferential for the study as they are considered as

having the ability to express conscientious perceptions. Also, participants that did not

have previous travel experience to Rio de Janeiro and have not seen the animated film

were selected, because of the study focus with participants without previous physical

experience with the destination and the specific film intervention.

It was perceived by the researcher that as no new information was being given

to the 19 participants before and after the film intervention, this justified the finalisation

of the interviews, and was justified by saturation. Warren, (2002) suggested that

approximately 20 to 30 participants can suffice for a qualitative interview to be

published (as cited in Bryman 2012). However, although minimum levels of

acceptability operate, there can be exceptions to Warren’s rule (Bryman, 2012). Masson

(2002) describes this as a microcosm of the population. What is important in qualities

studies is the quality and not the quantity of the data.

3.4.3 Data collection

A semi-structured face-to-face interview was the method used to collect empirical data

from 19 participants. The same open-ended questions in relation to the research aim

were asked before and after the film intervention in order to facilitate the comparison

42

between pre- and post-perceptions. Furthermore, pre-post-tests allowed the researcher

to make interpretations on the effect of the intervention by looking at the difference in

the pre-test and post-test results.

Bryman (2012) argues that semi-structured interviews allow generation of

answers that can be coded and quickly processed. Masson (2002) argues that qualitative

interviewing allows an active and reflexive process for the researcher that cannot be

underestimated. The exploration of people’s perceptions and their personal experiences

requires personal interviews (Smith, 2010). In this case, the experience of film viewing

and its impact on perceptions in regards to the destination required personal interviews.

However, the disadvantages of interviews are acknowledged in that findings cannot be

referenced to a wider population because the results are only reflective of the individual

participants (Jennings, 2012). Furthermore, it is argued that semi-structured interviews

are interactions influenced by the social circumstances surrounding the participant and

researcher, therefore these are non-replicable (Jennings, 2010). Semi-structured

interviews allowed the focus to be on the study's objectives, although certain flexibility

allowed the participants to express any further interpretations.

Considerations regarding maturity, social skills and vocabulary were considered

when interviewing the participants. Smith (2010) suggests that a comfortable

environment needs to be considered in order to allow an effective rapport between the

researcher and the participant. Warm-up questions in regards to demographics and also

43

a transition question allowed the researcher to create a relaxed environment. The

participants were asked to point to Rio de Janeiro on a world map before starting the

interrogative questions regarding imaginations, knowledge, beliefs, and affections about

Rio de Janeiro. The interviews were tape recorded and handled carefully in accordance

with the anonymity and confidentiality procedures.

The interview questions were related to the concept of a ‘sense of place’ and

were posed simply and comprehensibly to the participants (Appendix 3). Questions

regarding social (people), environmental (landscape) and physical (built-in) dimensions

of the place under study were the foundations for the questions and further imaginations.

This stimulated the participants to express their perceptions of the tangible and

intangible attributes of Rio de Janeiro in order to obtain a holistic picture of people’s

imaginations, beliefs, knowledge (cognitive component) and affections (affective

component) about the destination Rio de Janeiro within a broader context. It is important

to remember that the research was carried out while the World Cup was being held in

Brazil in 2014. Indeed, it is argued that this was an aspect that influenced the perceptions

of Brazil and Rio de Janeiro because of the media and the social environment.

The recruitment of participants and the analysis were carried out according to

ethical standards and to ensure objectivity. Through voluntary participation, participants

were selected and were fully informed about the research and the process. Informed

consent forms were provided to explain the procedures and possible risks of the research,

44

which were irrelevant in this case (Appendix 1). Confidentiality was assured to the

participants, and an information sheet (Appendix 1) provided details about

confidentiality and the research in general.

The setting for the data collection was Flinders University, Bedford Park,

Adelaide, South Australia, and was carried out in June and July 2014. A heated venue

at Flinders University’s main campus was organised for the interviews in order to deal

with the wintery conditions. The administrative officer of the School of Humanities

kindly booked the venue on convenient dates and schedules for the interviews from the

23rd of June to the 17th of July and the film depiction on the 10th of July (Appendix 4).

The participants were asked via email to attend the pre-interviews at specific

dates and times. After completion of consent forms and clarification of the process, the

interviews started on the 23rd of June. The pre-interviews and post-interviews lasted an

average of 35 minutes each. The film screening took place on the 10th of July, at the

School of Humanities' North theatre in an environment similar to a real cinema.

Lollypops and cookies were shared with the audience at the entrance of the venue.

Likewise, specific dates for the post-interviews were organised after the film

intervention and communicated to the participants via e-mail. When the post-interview

was completed, the researcher gave a poster of a Rio de Janeiro landscape as

memorabilia of the research to the participants (Appendix 5).

45

Seventy percent of the participants were present on the official date of the

screening. The other 30% were contacted and given a DVD of the film that they could

watch at their convenience. The researcher recommended they enjoy the film in a

comfortable and relaxed environment for enhancing the film experience and outcomes

of the research. This later occurrence could have influenced the participants differently

by not having the cinema-like experience and other potential influences that were out

of the control of the researcher. In order to counter this inconvenience, before the post-

interviews, the participants were asked how the film experience was. One interview was

excluded from the study as there was an evident misapprehension of the film viewing

experience.

3.4.4 Data analysis

The tools used to analyse the information were thematic analysis and frequency analysis.

The convenience of thematic analysis relies on the fact that content analysis leads to a

natural construction of themes (Day, 1993 as cited in Jennings, 2010), while Sarantakos

(2005) argues that the texts are interpreted using themes associated with principles that

allow statements about cognitions (as cited in Jennings, 2010). Furthermore, Bryman

(2012) recommends the counting of contextualised codes, words or themes in regards

to their frequency/repetition in order to clarify the evidence.

The study analysed the change in cognitive (knowledge, beliefs) and affective

(feelings) components about the destination with a pre (before) and post (after) film

46

viewing test. The proposed semi-structured interviews allowed the simplification of the

process, since the questions contextualised some of the codes and themes (Appendix 3).

The thematic analysis was carried out considering Bryman’s (2012) recommendations

in regards to looking for repetitive, theory-related material, similarities and differences,

and with constant reflexion on the initial coding, for avoiding codes overlapping.

3.5 Conclusion

This chapter clarifies the focus of the strategy undertaken and links it to the objectives

and questions considered towards reaching the aim of the research. Also, it provides the

research context in regards to the importance of the tourist destination under study and

the animated film variable. The research context provides a clear understanding of the

attributes of Rio de Janeiro and the film Rio.

This chapter addressed a complete detail on the research strategy, and justifies

the methodological approach. Likewise, it provides a complete discussion on the

advantages and disadvantages of the case study, interviews and thematic analysis

undertaken. Also, it provides the necessary evidence of the logistics for the data

collection such as the research questions, interview schedules and billboard pamphlets,

which are annexed in the appendices. This chapter is key as it provides a clear reasoning

on the methodological approach considered for the accomplishment of the study aim.

47

Chapter 4

Findings and Discussion

4.1 Introduction

This chapter presents the findings of this study. Tourists’ evaluations of destination

cognitive and affective image components about Rio de Janeiro before and after the

animated film intervention are listed, compared and discussed. Each participant’s

profile is summarised initially showing the participant’s demographics and their film

viewing mode in the research (Table 3).

The first part introduces the reader to the tourists’ perceptions before and after

the film intervention in terms of cognitive and affective components of destination

image. The main themes and subthemes that emerged from the thematic analysis are

listed (Table 4). Later a comparison is carried out between the pre and post cognitive

evaluations regarding Rio de Janeiro, relating back to previous studies. Then, people’s

cognitive evaluations of Rio de Janeiro, based on thematic and frequency analysis from

structured interviews, are presented and contrasted individually. Graphics below each

theme indicate the frequency analysis carried out in order to deliver a more objective

interpretation. Social issues and safety, physical landscape, cultural events, local food,

friendly locals, natural resources, cultural and natural icons are presented.

48

The second part discusses tourists’ perceptions focused on affective components

of destination image towards Rio de Janeiro; these are listed, organised and compared

within established categories introduced in Chapter 2. Unpleasant-pleasant; sleepy-

lively; gloomy-exciting and distressing-relaxing scales are used to categorise the

feelings towards the destination. Lastly, the tourists’ expectations that emerged from the

analysis are introduced and later compared considering the film intervention. The

analysis and discussion are complemented with direct quotations from the interviewees,

as a demonstration of data reliability.

4.2 The demographics of participants

Participants’ Demographics

No. Sex Age Nationality University Role Film Experience

1 F Late 20s Ecuador Student Theatre

2 F Mid 30s Australia Staff Theatre

3 M Late 40s Australia Staff Theatre

4 M Late 20s Iran Student Theatre

5 M Early 20s Australia Student Theatre

6 M Late 30s Saudi Arabia Student DVD

7 M Late 40s Australia Staff Theatre

8 F Mid 30s Serbia Student DVD

9 M Mid 40s Australia Staff DVD

10 M Mid 40s Australia Staff DVD

11 F Mid 20s Colombia Student Theatre

12 M Mid 20s Australia Student Theatre

13 F Early 20s Australia Student Theatre

14 F Mid 20s Australia Student Theatre

15 M Mid 30s Indonesia Student DVD

16 F Early 20s Taiwan Student Theatre

17 F Early 20s Australia Student Theatre

18 F Mid 20s Sri Lanka Student Theatre

19 F Mid 20s Ecuador Student DVD Table 3. Participants’ Demographics

49

Nineteen participants from the university community passed the eligibility criteria, and

were diverse and proportional in accordance to gender, age, nationality and activities

undertaken at university, committed to participating in the research.

50

Food with beans

Mexican style

Unique & exotic food

BBQ

Chicken hearts

Music & Dance

Religion

Events & Festivals

Portuguese heritage

Local Food

Coastal city

Cultural Events

Aboriginal culture

Carnival

Football

Physical Landscape

Green hills

Mountains

Beach

Close rainforest

Risky

Drug dealing and smuggling

Poverty

Prostitution

Child abuse

Themes/Subthemes

Social Issues and Safety

Criminality

Government mismanagement

Unsafe

Negative

Exciting

Interesting

Natural Resources

Happy

Scared

Vibrant

Neutral

Pleasant

Santa Teresa tram

Blue Macaw

Favelas (slums)

Affective Component

Compassion

Cultural and Natural Icons

Christ the Redeemer

Carnival

Football

Cable-car

Birds diversity

Wildlife

Protected areas

Waterfalls, Amazonas River

Ilegal wildlife trade

Themes/Subthemes

Friendly Locals

Friendly & happy

Welcoming

Great people

Good party

Sexy people

4.3 Thematic analysis and frequencies

Themes/Subthemes that Emerged from the Thematic Analysis

Table 4. Themes and Subthemes

51

Before After

35 20

30 15

33 10

5 1

8 6

30 29

4 0

5 9

Social Issues and Safety

Poverty

Prostitution

Child abuse

Frequency AnalysisThemes/Subthemes

Criminality

Government mismanagement

Unsafe

Risky

Drug dealing and smuggling

4.4 Prospective tourists’ perceptions about Rio de Janeiro

4.4.1 Social issues and safety

Social Issues and Safety

Graphic 1

Peace, safety and stability of a destination are considered sensitive to the tourist market

in regards to whether or not one chooses to visit a particular destination. Prospective

tourists’ pre-perceptions and post-perceptions in regards to Social Issues and Safety

emerged steadily along the interview. The prospective tourists’ image of Rio de Janeiro

was one of being a risky and unsafe city, with high crime rate. Also, Rio de Janeiro was

perceived as being a place with government mismanagement and poverty. Interestingly,

the film intervention resulted in a decrease of frequencies relating to criminality and

precarious perceptions (Graphic 1). Likewise, government mismanagement perceptions

decreased.

52

However, beliefs in regards to poverty and child abuse remained. The above

findings are in accordance with Hahm et al. (2008) who suggested that film can create,

confirm or alter existing images of places in a short period of time. Furthermore, this

latest occurrence can be partially explained because of the link with the film narrative

and the destination (Beeton, 2005). The animated film Rio depicts poverty and children

exploitation in Rio de Janeiro’s favelas (slums). Hence, tourists’ perceptions in regards

to Rio de Janeiro were linked to poverty and child abuse. Despite the negativity of these

factors, Rio de Janeiro was still seen as an appealing city. Some tourists’ comments

before viewing the film were:

“...I think the safety is really the biggest problem. I know that in Rio the inhabitants

drive with their cars locked and windows up. The rate of the criminal offence is really

high compared to other places.” (E8)

“From what I know as seen on TV, there are some beautiful parts, very rich parts of Rio

but also, I understand there are slums, areas with dense population, shanty type of towns

and I think there’s some extreme poverty as well”. (E7)

“I have a bad image about Rio. I saw a documentary, and there is not enough water,

not good education and an irresponsible government. I watched a movie about Mexico,

and I see the same picture Rio de Janeiro; an unsafe place to visit”. (E6)

Perceptions of E6 and E7 can be related with the idea that there was some

influence from the media. As suggested by Roesch (2009) and Beeton (2005), media

plays a crucial role in people’s perceptions about destinations. Iwashita (2006)

suggested that previous images add to existing ones, then ultimately an overall image is

53

formed. Mediatised information may deliver a positive or negative image of a

destination. Moreover, mediatised information is out of the control of the destination

image managers. The film Rio in this regards contributed to the construction of an image

of Rio de Janeiro as an autonomous agent, henceforth tourists commented:

“My views about Rio are now more positive because of the color, the sounds, the music

and the characters. You could still see the dark side like the favelas, but it didn’t seem

to be as dark as I expected. The movie enhanced the place for me.” (E7)

“In some ways it confirmed the image that I had because it was a very lively place. The

music, dance, football representation was right, however; it did seem more safe than

what I originally thought. Seems like a bit of a safer destination than what I initially

thought.” (E14)

“The film and the story of little boy was a good way to portray the poverty.” (E13).

Tasci (2009) suggests that positive perceptions of a place can reduce

preconceptions, stereotypes and image biases. These could be observed in tourists’

responses as the frequency of terms regarding social issues and safety diminished. Also,

stories developed in film can also contribute to depicting social and environmental

issues in a different way and ultimately raising consciousness of an issue. Film can raise

social consciousness in regards to human issues such as ecology and poverty, eventually

triggering pro-poor tourism.

54

Before After

19 33

18 30

35 31

8 25

16 20

Themes/Subthemes Frequency Analysis

Physical Landscape

Green hills

Mountains

Beach

Close rainforest

Coastal city

4.4.2 Physical landscape

Physical Landscape

Graphic 2

Tourists’ perceptions of the physical landscape of Rio de Janeiro were established,

reinforced and changed, as a result of the outstanding aerial views of Rio de Janeiro

portrayed by the film. Mountains, green hills, beautiful beaches and coastal city were

themes that increased in popularity of response from participants (Graphic 2). The

following comments were made by the interviewees before the film intervention:

“…I picture Rio to be a sunny place with beautiful beaches and smiling people’. (E15)

‘I imagine a place with lots of green mountains and beaches. It’s a very beautiful place

with pretty views from the mountains”. (E18)

“I can see great beaches. Lots of sun and crowded at times”. (E6)

“I think Rio de Janeiro is a big place. It is a big city with many millions of people.”

(E7).

Croy (2011) argues that the depiction of picturesque physical environments can

significantly improve people’s appeal towards a destination. Likewise, Beeton (2005)

suggested that the idyllic representation of a landscape, combined with the story in the

55

film, can contribute to the desire to become a film tourist. These were observed in some

of the tourists’ responses (E6, E10) presented below. Because animation techniques can

be used to enhance the physical environments of a destination, it has been argued that

the fact that animated films do not only reproduce but also represent images could be

an effective tool to the improvement of any physical landscape. Warnick et al. (2005)

argue that an effective film can enhance the charm of locations depicted (as cited in

Connell, 2012) and effectively influence the audience’s imagination in regards to the

environment depicted (Schonfield, 1996). A theme that meaningfully increased in

frequency in regards to the physical environment was the rainforest. Perceptions

towards Rio de Janeiro in this regard significantly changed, associating Rio de Janeiro

as being close to a rainforest. Resulting from the film intervention, some participants’

comments were:

“The best part of the movie is when Blu tried to learn to fly, they went to a very high

place where there were people was paragliding. The bird flew and they got a special

image from the top of the mountain. It’s a green mountain and the beach. It was very

nice. The green, the blue, the yellow sand, it’s very nice. That’s one of the scenes that I

enjoyed.” (E6).

“The only thing I wasn’t expecting from the movie and Rio was the existence of jungle

and the diversity of flora and fauna. I did not expect that there would be a jungle so

close to the city.” (E15).

56

“I would say it was certainly a reminder of the beauty of nature in South America and

Brazil and obviously areas around Rio de Janeiro.” (E10).

Tourists’ perceptions of Rio de Janeiro being close to a rainforest are remarkably

interesting. Indeed, it is has been suggested that film enhances the awareness in regards

to a destination (Hudson et al., 2011). In reality, the closest rainforest to Rio de Janeiro

is the Tijuca Forest, which is located 60 minutes away from the city centre. Kim and

Richardson (2003), suggested that a film can influence based on specific content, so the

close rainforest that was depicted was part of the specific content of the film.

Mountains, beaches and rainforests are aesthetics in a destination landscape; they also

have a symbolic value and are associated as recognisable elements of particular

destinations (e.g. the Himalayas in Tibet; the Matterhorn in Switzerland). Beaches are

associated with tourism and often seen as mass tourism destinations. Beaches in Rio de

Janeiro are among the most popular in the world, and this study's findings were

consistent with this, as participants' perceptions about Rio de Janeiro concentrated in

areas such as 'modern' and big coastal cities with beaches. It should be noted that

people’s perceptions of Rio de Janeiro were vague in regards to recognising the names

of famous beaches such as Ipanema and Copacabana, or the popular Sugarloaf Mountain,

before and after viewing the film.

57

Before After

Portuguese heritage 15 8

13 5

20 29

12 13

15 30

10 2

15 25

Themes/Subthemes Frequency Analysis

Aboriginal culture

Carnival

Music & Dance

Religion

Events & Festivals

Football

Cultural Events

4.3.3 Cultural events

Cultural Events

Graphic 3

Tourists’ perceptions about Rio de Janeiro's cultural events before the film intervention

were related to Portuguese heritage, aboriginal culture, religion, football, music and

dance, events and festivals among the most prevalent (Graphic 3). Some participants

acknowledged about the existence of the famous ‘Carnaval do Rio’ (Rio’s Carnival)

and referred to it as the ‘Mardi-Gras’ and big parade. Also, Rio de Janeiro was imagined

as a place with appealing music and dancing styles. Some interviewees remarked:

“I think they have really great culture. I just imagine the people to be really happy

because they have lots of carnivals and festivals where they get to dress up.” (E18).

“…I imagine Rio as a place with great music and football.” (E15).

“I imagine Rio as a very busy city with big festivals. A city that never sleeps where

people are crazy for football.” (E19).

58

By contrast, after the film intervention, the frequency of words and codes

increased in regards to the Carnival, music, dance and festivals (Graphic 3). The

depiction of the famous Carnival at the climax of the film and the fact that the animated

film was a musical could have greatly influenced the viewer’s perception. Kim (2012)

mentioned that film has the ability to portray the wonders of the world to audiences

worldwide. Furthermore, it is suggested that film that depicts an authentic image of the

destination can be an incentive for tourism (Grihauld, 2003) (as cited in Hudson &

Ritchie, 2005). Indeed, Rio captures the essence of Rio de Janeiro with a wonderful

depiction of the Carnival and unique music and dancing style Samba and football as

part of a life-style in Rio. Furthermore, the depiction of the iconic Carnival is likely to

remain for a very long time in prospective tourists’ mind. Some interviewees stated

after the film viewing:

“I think the film showed that Brazilians are very keen to dance and have festivals.”

(E9).

“Just a place that’s fun and somewhere you can go where you can get some culture.

It’s a really beautiful place with lots of culture and a really fun place to visit.” (E2).

“…the pictures of carnival, everyone dressed up and the floats looked so beautiful and

so bright.” (E18).

By comparison to the initial beliefs and knowledge of E18 for instance, it is clear

that the image of the famous Carnival became richer. The animated film, indeed,

developed a mental prototype of how the Carnival do Rio is, informing at the same time

on what an experience in Rio de Janeiro would be like. Interestingly, participants

59

Before After

10 3

4 1

20 30

3 10

0 9

Themes/Subthemes Frequency Analysis

Mexican style

Unique & exotic food

BBQ

Chicken hearts

Local Food

Food with beans

mentioned the music as an important value. As a consequence of the great musical

background of the film, perceptions were likely influenced by the music. Kim (2012)

suggested that production values such as music can act as a motivational element in a

film. Last but not least, cultural events are tourism resources and attractions that can be

created and positioned by destinations. Each destination has its own cultural background

and local traditions, and people's cultures are often seen as key attractions for a

destination (Convery et al., 2012). In this case, it is suggested that the film may play a

key role in positioning the Carnaval do Rio.

4.4.4 Local food

Local Food

Graphic 4

Prospective tourists’ perceptions in regards to the food of Rio de Janeiro were mostly

unknown before and after the film intervention. Yet, E1, E11 and E19 commented

accurately in regards to Brazilian food as having beans as a base for most popular dishes

(e.g. Feijoada), perhaps because of their cultural background and geographical

proximity. As South Americans, they had a clearer perception in this regards. These

findings match with the suggestion that cultural values and personal characteristics have

60

a great influence on perceptions (Kim & Richardson, 2003; Mercille, 2010). Other

participants imagined food as being spicy and Mexican-like. Fruit diversity and popular

Latin-American dinks such as Mojito and Caipirinha were mentioned as well. Unlike

the South-American perceptions, the perceptions of people with distant cultures (E18,

for example) were inaccurate initially. Tasci (2009) suggested that social distance plays

a key role in determining how people perceive destinations through film, arguing that

information through film exposure bridges social distance. This was confirmed with

some participants who depicted the food, in this case, clearer after than before.

Overall, the common perception of Rio de Janeiro food before the film

intervention was of little consequence, however some codes such as ‘exotic’and

unique’emerged significantly (Graphic 4). Some of the interviewees commented:

“They have different dishes from what I personally know, but I don’t know any specific

dish.” (E18).

“I recently learned that they eat beans. So if you go some restaurants then you’re going

to eat cassava and beans and meat. I think they have many fruits and vegetables and

meat.” (E1).

“I think they would have a good variety of ingredients. There’s also the exotic and

unique food that I’ve heard of but I haven’t tasted. I couldn’t tell you a particular dish

because I haven’t been to a Brazilian restaurant.” (E3).

61

The film included a short depiction of an image of unique Brazilian cuisine. In

contrast to the initial perception, a few participants gained a clearer idea. Hudson and

Ritchie (2006) noted that unique and iconic elements tend to be more attractive to

tourists if prominent enough in the film. Perhaps, then, food can also become iconic.

Indeed, recent research found that among Chinese tourists, the perception of Korean

cuisine was positively related to the consumption of Korean TV Drama, where food was

predominately shown (Kim et al., 2012). E18 learned through the film about one of the

most popular Brazilian dishes. Indeed, this confirmed Kim's (2012) argument in regards

to saying that film creates new perceptions. One of the most remarkable comments in

this regard was:

“Interesting cooking. I felt like that was a grand. It was a really pretty restaurant. I

thought the chicken hearts were strange. Exotic food. I wouldn’t eat the chicken hearts,

it sounds very strange to me. I just remember the restaurant scene.” (E18).

62

Before After

24 32

19 27

15 28

15 25

17 8

Frequency AnalysisThemes/Subthemes

Friendly Locals

Friendly & happy

Welcoming

Great people

Good party

Sexy people

4.4.5 Friendly locals

Friendly Locals

Graphic 5

The thematic analysis of tourists’ perceptions found that most people had an image of

Brazilian people as happy, friendly and welcoming. Some of the prospective tourists’

comments in the pre-interview were:

“I think they have really great culture. I just imagine the people to be really happy

because they have lots of carnivals and festivals where they get to dress up. They’re

very friendly. Lots of people visit Rio. And really social.” (E18).

“People are really happy and they have a lot of personality. They are really warm

people and easy to talk with.” (E11).

“My feeling is that Brazilians have the Mediterranean spirit. They are friendly, they are

open, they like to dance, and they love life. So that’s why places like Rio are popular.”

(E8).

These perceptions in regards to a unique local’s behaviour are quite remarkable.

Eventually, this could be a factor that greatly influences travel decision-making, despite

63

different perception of locals. The frequency of perceptions in regards to welcoming,

happy and friendly locals increased after the film intervention, likewise the idea of a

place with a good party environment (Graphic 5). Kim (2012) suggested that TV and

film have the ability to portray cultural manners and lifestyles, therefore constructing

awareness on specific people, places and cultures. The film enhanced the charm of the

local people; a festivity environment as a prevalent theme in the film could have

conveyed this perception. Indeed, participants’ perceptions in this regards were

confirmed by the film that local people are happy, friendly and welcoming. A

prospective tourist described his image of the people in Rio de Janeiro:

“It’s more about the people and the atmosphere that attracts me to Rio. Moreover, now

the nature after watching the movie. Some cities just have that kind of atmosphere. I

don’t think Rio has the most beautiful buildings or monuments, but I think it’s the

people that make the atmosphere. I guess it’s the positivity; the atmosphere is positive

and bright and cheerful. That’s for me personally. I want to go there to feel the

atmosphere.” (E8).

A perception of friendly locals is meaningful as it can make a destination very

attractive. Indeed, it is a positive attribute that prevailed, and was certainly confirmed

by the animated film. Although the main characters in the film were birds, an

environment of festivity was depicted throughout the film, since the story takes place at

the time of the Carnival. A positive environment was perceived by the participants.

Ward (2001) commented on the importance of the perception of Cephalonian Island as

having friendly and warm people, arguing that anyone who has seen the film Captain

64

Corelli’s Mandolin could have that expectation from the Greek Island (as cited in

Hudson & Ritchie, 2005). Indeed, this is an aspect that should be considered by film

tourism practitioners, as it can create a positive expectation of a destination. Reijnders

(2012) argues that tourists develop media-inspired fantasies when visiting destinations;

it is possible, therefore, for one of those inspirations to be the friendly people of Rio de

Janeiro. Hence, it is concluded that the portrayal of people’s lifestyles can influence the

image of a destination in a positive way.

65

Natural Resources Before After

8 28

6 17

1 10

3 0

0 31

Frequency Analysis

Ilegal wildlife trade

Themes/Subthemes

Birds diversity

Wildlife

Protected areas

Waterfalls, Amazonas River

4.4.6 Natural resources

Natural Resources

Graphic 6

The data analysis provided some codes relating to the natural resources in Rio de Janeiro.

However, most people related their pre-perceptions about Rio as a city, and natural

resources were barely mentioned. Among those that were mentioned are wildlife,

rainforest, bird’s diversity, waterfalls, protected areas and the Amazonas River. Perhaps

people’s perceptions were related not only to Rio de Janeiro, but to Brazil. The

following statements from the prospective tourists evoked this:

“I don’t think there is much wildlife in Rio because it’s a city so I guess they might

have birds but not anything else, maybe in different regions of the city.” (E15).

"When I think of Brazil in general, rainforests come into mind.” (E7).

On the other hand after the film intervention, tourists’ perceptions considerably

changed by associating Rio de Janeiro as a city with rich wildlife, especially bird’s

diversity. This was confirmed by the frequency analysis as well (Graphic 6). Keaveney

66

and Hunt (1992) highlighted that discrepant images about places in the media can

replace previous perceptions (as cited in Tasci & Gartner, 2007). Following this

highlight, it is noted that the animated film developed some discrepancies, suggesting

that some images previously held by participants in regards to Rio de Janeiro were

replaced. Participants’ perceptions after viewing the film not only changed towards

mentioning the attractiveness of a green, hilly geography and a bio-diverse rainforest

close to the city, as commented earlier, but also the diversity of birds close to the city,

in particular, became an awareness. Frost (2010) commented on the creation of myths

and how people follow myths, although these are unreal. Films have been recognised as

myth builders. As a result, interviewees commented:

“The biggest surprise was the nature because I didn’t know if they have nature. I didn’t

know Rio was surrounded by beautiful forests. I didn’t know that they had so many

parrot species, such a variety of birds in general, especially in the city. I never thought

about it.” (E8).

“I think the birds were one aspect that I didn’t think of before but after the movie it

made sense for there to be birds. There are so many types of birds, and they’re all so

colorful. Basically, the different types of birds that are very colorful, the tiny puffy birds

are so cute.” (E18).

Another aspect that emerged among prospective tourists’ perceptions, after the

film in regards to Rio de Janeiro, was concern about animal trafficking, specifically bird

poaching. Bird poaching was actually a central part of the film narrative. The

interconnections with the narrative and the destination influenced viewers’ perceptions

67

(Beeton, 2005). Similarly, bird poaching can be seen as a myth, however it was a myth

that impacted people’s perceptions.

“There seemed to be a wide variety of different types of birds. It made me think that

poaching of birds could be an illegal trade that still exists in Brazil.” (E6).

Bird poaching can be seen as a negative or positive aspect for tourism, as it can

change the reputation of a destination negatively, or trigger 'Conservation Tourism'.

Furthermore, Butler and Boyd (2000) suggest that natural resources are among the most

important tourist attractions in a destination (as cited in Weaver & Lawton, 2010).

Natural resources can be an incentive for adventure tourism and related activities such

as hiking, kayaking, rock climbing and also conservation tourism.

68

Before After

15 16

10 17

6 7

7 15

0 14

2 16

10 16

Themes/Subthemes Frequency Analysis

Favelas (slums)

Christ the Redeemer

Carnival

Football

Cable-car

Santa Teresa tram

Blue Macaw

Cultural and Natural Icons

4.4.7 Cultural and natural icons

Cultural and Natural Icons

Graphic 7

Man-made elements such as monuments, architecture and events have evolved as

attractions of their own due to their aesthetics and significance. Furthermore, these

become elements of easy recognition and association for tourists to destinations.

Likewise, natural icons which are part of a destination’s geography can position

themselves as attractions. It has been acknowledged that the depiction of renowned

icons and music icons can be associated to destinations (Butler, 2011). Likewise,

Roesch (2009) and Riley et al. (1998) suggested that movies can create icons, which

can become remarkable and therefore remembered, and ultimately become attractions.

When prospective tourists were asked in regards to their knowledge about the

icons of Rio the Janeiro before the film, most referred to Christ the Redeemer, the

carnival and the favelas (slums). The cable car and football related icons such as the

Maracana stadium and Pele (famous soccer player), as well as the jungle were among

69

the less mentioned. In Rio de Janeiro, Christ the Redeemer has become a worldwide

icon; indeed, most of the participants in this study referred to Christ the Redeemer, but

as the ‘Jesus statue’. This icon invokes a sense of immediate association to the city and,

in some cases, with Christian religion.

Participants’ perceptions in regards to the cultural and natural icons of Rio de

Janeiro changed significantly after the film intervention (Graphic 7). The frequency

analysis showed that the Santa Teresa Tram, the blue Macaw and the favelas emerged

as icons associated with Rio de Janeiro. Hudson and Ritchie (2006) suggested that the

depiction of icons through film can create familiar memories about destinations.

Furthermore, Riley et al. (1998) argue that movies can develop physical or thematic

icons that become audiences’ focus of attention. The animated film was an actual

journey through the city, like the Italian Dal Vero film style that focused on the portrayal

of the cityscape, which in turn was highly influential to audiences. The emotional

association of certain film scenes and the icons depicted, and being part of the storyline,

arguably became some of the reasons why the film was able to develop lasting

perceptions, explaining the appearance of emergent icons such as the Santa Teresa Tram

and the Blue Macaw.

70

Before After

3 5

17 16

10 5

3 5

2 3

5 9

8 4

10 15

15 16

Themes/Subthemes Frequency Analysis

Negative

Interesting

Neutral

Pleasant

Exciting

Compassion

Affective Component

Happy

Scared

Vibrant

4.5 Affective component

Affective Component

Graphic 8

Prospective tourists’ answers about their feelings towards the destination before the film

mediation were diverse, representing different viewpoints. The association of Rio de

Janeiro as a city with poverty and criminality was associated with the compassion, scary

and negative emotional responses. Kim (2012) suggested that audiences develop

personalised feelings, and eventually attachments, to fictional characters. The depiction

of poor children or charming characters may have influenced perceptions, however this

will need to be further clarified. Feelings such as positive, happy, exciting and

interesting arose in a similar vein because of the popularity and appeal towards Rio de

Janeiro. The feelings that arose after the film can be compared to Russell’s (1980) scale

of feelings towards a destination: unpleasant-pleasant; sleepy-lively; gloomy-exciting

and distressing-relaxing; scary fits in the category of unpleasant and distressing, happy

fits with exciting and interesting, and pleasant with lively and exciting. Overall it is

suggested that before the film intervention, Rio de Janeiro was seen mostly as a pleasant,

71

lively and exciting destination with few unpleasant and distressing perceptions.

Prospective tourists commented:

“…I think there’s danger for tourists in certain areas. So there’s always the risk of theft

or robbery if you’re in the wrong place and the wrong time at night.” (E12).

“…I would say even though I’ll like to go there, but I feel a little bit scared.” (E16).

“It’s a warm place that I would like to visit. I feel happiness. But I know there are a lot

of problems there.” (E1).

By comparison, the unpleasant and distressing perceptions decreased moderately after

the film input, as the frequency analysis indicates (Graphic 8), and the pleasant, lively

and exciting feelings remained. Some of the participants commented:

“I think I’m still aware that you have to be careful as a tourist there because there is a

lot of crime. In the movie, they represented the crime in a friendlier way, but it’s sunny,

happy and beautiful, the natural setting is just beautiful.” (E8).

“I still have the feeling that I have to be careful because of the crime, overall a place I

would like to go. I feel really alive. Carnival, feel excited and really happy to be there,

feel like dancing.” (E12).

Although the affective component analysis did not reflect great changes, it is

argued that some of the slight changes are related to the way Rio de Janeiro was depicted.

72

The 'blockbuster’musical animation depicted a positive image of Rio de Janeiro;

arguably, the minimal changes to positive perceptions and the diminishing of negative

perceptions are related to the type of film, rather than the film itself. Also it can be

reasoned that animated film and the ‘family’ genre delivered an overall positive

image of Rio de Janeiro. Moreover, as suggested by Beeton (2005), and Kim and

Richardson (2003), prospective tourists are likely to construct knowledge and develop

emotions towards the place depicted in the film because of emotional narratives. Indeed,

even after only few hours of engagement with film, emotions can be evoked in

audiences. Gartner (1993) suggested that affections can be influenced by cognitive

perceptions and ultimately influence conative components overall. Agapito (2014)

confirmed the hierarchical relationship between destination image components and

concluded that emotions are among the most important in decision making, however,

largely depend on cognitive evaluations. It is then proposed that knowledge, beliefs and

feelings were positively related towards Rio de Janeiro, and the film improved this

relationship. However, further research could clarify this occurrence.

4.6 Tourists’ expectations

The film created knowledge of new attractions that were not considered before. As

mentioned earlier, the idea that Rio de Janeiro was close to the rainforest was translated

into a desire to be involved in natural based activities. Jungle walks, bird watching and

visiting the bird sanctuary, as portrayed in the film, were among the favourites. The

portrayal of natural scenery in the film can positively influence the image of a

destination. Urry (2002) also commented that audiences guided by film can feel

73

daydreams and develop anticipations. Furthermore, Frost (2010) suggested that the

attributes portrayed in a film provide a promise of possible experiences for prospective

tourists. Other activities that the participants saw as appealing and certainly part of the

influence of the film were: the Santa Teresa tram, and paragliding. Even though these

activities were only represented to a certain extent, the film delivered information in

regards to these unknown attractions. One of the respondents’ comments on activities

after watching the film:

“I’m doing the hang gliding, for sure. I think that it’s so fun. I would definitely go and

see the wildlife a bit more. I would see the birds and take pictures of them because I

really like seeing bright birds. I would go to the beaches. I would just explore and trek

the mountains, I would go to the Christ the Redeemer statue. If I could, I would go in a

helicopter around it because I want to see the top. I would also try the cuisine. The

carnival. The tram. Rio had an old feel to it as well. The buildings do give you the idea

that it has been there for a while and it has history. Even the cars were old. It was

interesting, it’s not like somewhere I’ve been before.” (E18).

The understanding of prospective tourists’ anticipation is key for tourism

destinations as tourists are likely to demand the same expectations perceived by images

and films. Gnoth (1997) argues that the management of tourist expectations is extremely

important as these influence tourists’ choices and perceptions of experiences (as cited

in Rodriguez del Bosque et al., 2009). Tourists’ favourable expectations towards the

destination will likely influence a comparison with other destination’s expectations.

74

Rodriguez del Bosque et al. (2006) argue that the key factors in tourists’ expectations

are the preconceived images of the destination. Rio depicts images that provoked

interest amongst the viewers and informed them about possible experiences. This is in

agreement with Govers et al. (2009) who suggested that destinations face the challenge

of exploiting impressions by moulding perceptions and ultimately developing the right

expectations.

4.7 Conclusions

This chapter demonstrated that the animated film Rio significantly influenced

prospective tourists by delivering a meaningful and negotiated perception change on the

destination image of Rio de Janeiro. The findings of this study can be mirrored with

Kim and Richardson (2003) study who determined that the changes in cognitive

components of destination image were consistent with the content of the film.

Films can create awareness, can form and change images, develop expectations

and influence decision-making towards destinations depicted, as was the case of an

animated film towards Rio de Janeiro. Even though the type of film was entirely

different due to it being an animated film, it still developed perceptions. The movie

delivered meaningful knowledge, created beliefs and influenced the affective image

component. Findings were described with comparative arguments, quotations and

frequency analysis of participants’ perception before and after viewing the animated

film. Participants’ perceptions were classified according to themes that emerged from

75

the thematic analysis: social issues and safety; landscape; cultural events; local food;

friendly locals; natural resources, and cultural and natural icons.

It is suggested that the film influenced people’s perceptions towards Rio de

Janeiro in an important way. For instance, what was initially vaguely perceived as a

coastal big city was later combined with the image of a city that is close to a bio-diverse

rainforest. Also, the perceived social issues and safety concerns were diminished by the

animated film. Likewise, perceptions of Rio de Janeiro being a place of 'cultural events’

and 'friendly locals' were confirmed and enhanced. Affective components towards the

destination slightly increased towards being an exciting, lively and pleasant destination,

even though the initially perceived image was already positive. Participants’ beliefs and

knowledge towards Rio de Janeiro were either reinforced or changed.

Negative aspects such as the pre-conception of Rio de Janeiro as being a dangerous city

with social issues and safety issues were somewhat diminished, although not changed

completely. Instead, the idea of bird poaching appeared as part of the film, and the

previous conception of criminality in Rio de Janeiro was somehow confirmed. It is

suggested that the animation influenced towards a positive and beneficial image of Rio

de Janeiro because of the enhancement of the place and attractions, and also the different

way that poverty was portrayed.

76

Among the most important destination advantages developed by the film was

the development of awareness towards friendly locals and a joyful, positive

environment. Although pre-perceptions agreed on this, an animated film raised these

advantages because of the depiction of happy, friendly and welcoming locals. Possibly

the good and pleasant atmosphere depicted in the film was related to the depiction of

Carnival. Interestingly, the movie provided a beneficial image to the participants in

regards to some authentic attractions like the closeness to the jungle, favelas, the Santa

Teresa tram and the paragliding activity. It is suggested that the enhancement of the

animation with colours and music was well received by the participants, who reacted

positively to these production values.

Knowledge and beliefs in regards to the natural resources, bio-diversity,

specifically bird’s diversity, were increased. Perceptions in regards to the food of Rio

de Janeiro were insignificant before the film, and the film did not show much of the

local gastronomy, still, a few participants perceived some food details. The tourist

expectations translated into tourism activities that participants described before and

after the film changed significantly towards nature based activities. Cultural icons

perceived by the film viewers appeared significantly in their feedback; not only Christ

the Redeemer was prevalent, but also the Blue Macaw, the cable car ride, the Santa

Teresa tram and unique culture.

77

Affection towards the destination remained positive, perhaps in recognition of

the popularity of the destination; still some fear existed among the perceptions towards

the destination. Rio de Janeiro is, and it has been portrayed in the media as, a dangerous

city and most of the participants perceived the destination this way, but this negative

aspect was not entirely influential. Cultural values influenced participants' responses as

South American respondents perceived Rio de Janeiro in a different way from non-

South Americans. Certainly their perceptions were clearly linked to their own reality as

South Americans. Overall, it is suggested with this small scale experiment that animated

films can influence tourists’ perceptions, despite viewers’ personal values.

78

Chapter 5

Conclusions

5.1 Introduction

This research explored tourists’ perceptions and expectations in regards to the popular

destination Rio de Janeiro before and after the intervention of the ‘blockbuster’

animated film Rio. The research has sought that a film has influenced tourists’

perceptions by evaluating the cognitive and affective elements of the destination image.

The study showed that tourists’ expectations changed in an interesting way after the film

input by adding additional anticipations of what a tourism experience in Rio would be

like. The film portrays an interesting and appealing story that shows the fantastic

cultural landscape of Rio de Janeiro as both the foreground and background. According

to the academic film tourism and destination image literature and research, films have a

psychological impact on the perceptions, arisen from the consumption of popular media.

An empirical qualitative approach was undertaken in order to explore if a

different type of film had some kind of effect. Nineteen participants without previous

physical experience of Rio de Janeiro and without having previously seen the animation

Rio gave an insight in regards to the proposed research questions. A complete summary

of the research findings, theoretical and practical implications, research limitations and

future research is presented.

79

5.2 Empirical findings

It is suggested that Rio changed tourists’perceptions in regards to Rio de Janeiro.

Beliefs, knowledge and affections were either confirmed or changed after the evaluation

prior to the film intervention. The depiction of the cultural landscape of Rio de Janeiro

and the animator’s enhancement of it made most of the participants gain awareness of

the destination based on the film. It is also argued that the images portrayed, as well as

the icons and attractions developed by the film, can remain prevalent in participants’

minds, therefore, can be related to their image of Rio de Janeiro in the future. For

instance, the idea of a Rio de Janeiro close to the jungle with bird diversity, and its

association with a Blue Macaw, are among the most meaningful perceptions. Even

though poverty and criminality were identified, as bird poaching was portrayed, the

frequency analysis suggested that post-perceptions in regards to criminality and social

issues, including poverty, diminished.

The film’s role in pre-visit stages is crucial because this develops a sense of safer

expectations and likely experiences. Rio developed a sense of expectation in regards to

being a destination with friendly locals and a colourful, good and pleasant atmosphere

with an appealing gastronomy, near natural places and with unique culture. The overall

feelings before and after the film input were positive; although a sense of unpleasant

fear was mentioned among some participants before the film viewing, the animated film

diminished this unpleasant emotion. However, participants still acknowledged that Rio

de Janeiro was potentially a dangerous destination.

80

From the film-tourism perspective, it is suggested that animated films that

represent real places can influence people’s perceptions and, therefore, destination

images. If the animated film is a mainstream film, produced by a large multi-national

corporation, it is likely to influence adult audiences worldwide, and therefore create

awareness about the destination and build a destination image, despite its genre. In the

case of this study, Rio’s unique family, musical genre has influenced perceptions and

expectations about Rio de Janeiro. It is proposed that tourists without previous

experience of a destination can have their negative perceptions changed, their previous

knowledge confirmed and, ultimately, can develop expectations. Hence, destination

tourism officials can use this information to leverage tourism and position certain

attractions through animated film.

5.3. Theoretical and practical implications

The findings of the study provide an opportunity to comment on the research theoretical

implications. As the study used animation film as a variable and a qualitative approach,

some noteworthy implications are proposed. The contribution to the film tourism

literature arises from the idea linked basically to film genre and production values.

Animation film has been described as a film technique rather than a genre itself. The

family, adventure, comedy and musical genres of Rio have implications in regards to

the market audience to which it is directed, which is mainly families.

81

Interestingly, the point of view of film genre in film tourism has yet to be

researched. It is suggested as a conclusion of this study that animated films that portray

the cultural landscape of a destination can influence a broad spectrum of audiences from

toddlers to adults. According to this research, adult audiences were influenced by the

animation in a meaningful way by the film reinforcing their previous image, developing

new images and changing negative images.

Other theoretical implications are found in regards to the production values of

the animation film. The narrative/storyline, characters, location, music and visual

technique can be used by animators to enhance wisely the cultural landscape of a

destination, using advanced technology. However, further considerations in regards to

how authentic audiences perceive the animated film to be need to be considered in future

research. Furthermore, the destination Rio de Janeiro has not yet been considered in the

film tourism academic discourses, even though many blockbuster films have been set

in that popular destination. Rio de Janeiro has unique characteristics, as tourists

perceived before and after the film input, among them the uniqueness of the Rio de

Janeiro/Carioca culture, the physical environment, natural resources, social issues,

safety, and cultural and natural icons.

It is recommended that Rio de Janeiro tourism stakeholders use the findings of

this research to develop marketing campaigns related to the film. Also, as films are seen

as a viable investment to strengthen destination images, the success of Rio may be an

82

opportunity for a wise investment to be considered. Overall, Rio de Janeiro tourism

officials should acknowledge that the film Rio is likely to have reached a significant

audience. Therefore, expensive campaigns involving market studies and targeted

promotion can be substituted by focusing on this research’s findings.

Some DMO’s have also acknowledged the importance of meaning and

symbolism sometimes hidden beneath film elements such as images, icons, narratives

and characterisations, and use these to market elements like national pride and identity

worldwide. Therefore, it is proposed that the iconic Blue Macaw and the concept of a

city close to the jungle be used to leverage nature-based tourism. Furthermore, Rio

provided a powerful tool for DMO’s and tourism stakeholders in developing an

understanding of how Rio de Janeiro is perceived in a different way.

Therefore, it is suggested that the development of movie maps, public

relationship activities and film production support should be considered. Rio de Janeiro

is seen already as a popular tourism destination, however, film-induced tourism can be

an alternative to diversify tourism products and services, ultimately towards reaching

tourism sustainability. For instance, nature-based tourism can develop campaigns linked

to the movie in regards to creating awareness for the conservation of animal species.

Also, the portrayal of poverty in Rio can be used to develop marketing

campaigns to attract pro-poor tourism or volunteer tourism. Finally, it is suggested that

83

images related to the animated film can be a source of inspiration for several social

media campaigns and eventually to develop marketing campaigns to influence children

directly for future visitation.

5.4 Research limitations and suggestions for future research

The study is interested in determining the impact of the film as an

independent/autonomous factor influencing tourists’ perceptions, and therefore

destination images, before and after this input. However, it is important to acknowledge

the intricate dynamics of tourists’ perceptions and destination image formations. Hence,

tourists’ individual characteristics, values and behaviour biases are not analysed. Also,

the film/media representation’s unique characteristics are not analysed, even though its

genre and production values are grasped. Likewise, this study focuses on the destination

image during pre-visit stages of consumer behaviour; further study with tourists in the

destination and post-visit stages would elicit interesting findings. Furthermore,

discussions in regards to authenticity and sense of place can determine insights in

regards to understanding how real or unreal people’s perceptions are of animated film.

Finally, the image portrayed by Rio among the local community can also be used to

understand further implications for DMO’s.

The development of the study has elicited some variables that are proposed to

be researched in the future of animated film-induced tourism. The incorporation of

animated films themselves has stimulated enquiries involving their relationship with

84

authenticity. Besides, since ‘blockbuster’ family animated films are greatly consumed

by children, it is recommended that children’s imaginations in regards to places, people

and cultures depicted in animated films can be influential for tourism in the short,

medium and long term. Also, an analysis of the animated films from the media

representation’s analysis should be considered in order to understand if animated

techniques, characters and music can greatly influence tourists. Last but not least, the

incorporation of larger samples using both qualitative and quantitative methods is

recommended.

85

References

Baloglu, S. & McCleary, K. (1999). A model of destination image formation. Annals of

Tourism Research, 26(4), 868–897.

Beeton, S. (2005). Film Induced Tourism. United Kingdom: Channel View Publications.

Jewell, B. & McKinnon, S. (2008). Movie tourism — a new form of cultural landscape.

Journal of Travel & Tourism Marketing 24(2-3), 153-162.

Bryman, A. (2012). Social Research Methods. (4th ed.), New York: Oxford University

Press.

Burns, P., Palmer, C., Lester, J. (2010). Tourism and Visual Culture. Volume 1 Theories

and Concepts. (1st ed.), UK: Cabi.

Busby, G. & Klug, J. (2001). Movie-induced tourism: The challenge of measurement

and other issues. Journal of Vacation Marketing, 7(4), 316–332.

Butler, R. (2011). It's only make believe: The implications of fictional and authentic

locations in films. Worldwide Hospitality and Tourism Themes, 3(2), 91–101.

Carvalho, L. (2014) Os destinos brasileiros mais visitados pelos estrangeiros. Estilo de

Vida (The most visited Brazilian destinations by foreigners. Life Style).

EXAME. Brazil. Retrieved from http://exame.abril.com.br/estilo-de-

vida/noticias/os-destinos-brasileiros-mais-visitados-pelos-estrangeiros

Cavanagh, S. (1997). Content analysis: Concepts, methods and applications. Nurse

Researcher, 4, 5-16.

86

Charon, J. M. (2010). Symbolic interactionism. An introduction, an interpretation, an

integration. (10th ed.), Boston: Prentice Hall.

Connell, J. (2008). ‘What’s the Story in Balamory?’ The impacts of a children’s TV

programme on small tourism enterprises on the Isle of Mull, Scotland. Journal

of Sustainable Tourism. 13(3), 228-255.

Connell, J. (2012). Film tourism — evolution, progress and prospects. Tourism

Management, 33, 1007–1029.

Convery, I., Corsane, G., Davis, P. (2012). Making Sense of Place. Multidisciplinary

Perspectives. Woodbridge, Suffolk, UK, Rochester, NY: Boydell Press

(Heritage matters, v. 7).

Crouch, G., Perdue, R., Himmermans. H., Uysal, M. (2004). Consumer Psychology of

Tourism, Hospitality and Leisure (Vol 3), Wallingford.

Croy, W. G. (2010). Planning for film tourism: Active destination image management.

Tourism and Hospitality Planning & Development, 7(1), 21–30.

Dung, Y.-A. O. & Reijnders, S. (2013). Paris offscreen: Chinese tourists in cinematic

Paris. Tourist Studies, 13(3), 287–303.

Fakeye, P. & Crompton, J. (1991). Image differences between prospective, first-time,

and repeat visitors to the Lower Rio Grande Valley. Journal of Travel Research,

10 (30).

Foxall, G. (1980). Consumer Behaviour, A Practical Guide. London: Croom Helm.

Frost, W. (2010). Life changing experiences. Film and tourism in the Australian

Outback. Annals of Tourism Research, 37(3), 707–726.

87

Gartner, W. C. (1993). Image formation process. Journal of Travel & Tourism

Marketing, (2(2/3)), 191–215.

Grbich, C. (2013). Qualitative Data Analysis. An Introduction. Thousand Oaks: SAGE

Publications.

Hahm, J. & Wang, Y. (2011) Film-induced tourism as a vehicle for destination

marketing: Is it worth the effort? Journal of Travel & Tourism Marketing, 28(2),

165–179.

Hall, S. (1997). Representations. Cultural Representations and Signifying Practices.

London, Thousand Oaks: Sage in association with the Open University.

Hudson, S. & Ritchie, B. (2006). Film tourism and destination marketing: The case of

Captain Corelli's Mandolin. Journal of Vacation Marketing, 12(3), 256–268.

Iwashita, C. (2008). Roles of films and television dramas in international tourism: The

case of Japanese tourists to the UK. Journal of Travel & Tourism Marketing,

24(2-3), 139–151.

James, C. (2013) The Films of Pixar Animation Studio. US: Kamera Books.

Jennings, G. (2010). Tourism Research. (2nd ed.), Milton, Qld: John Wiley & Sons.

Karpovich, A. (2010). Theoretical approaches to film-motivated tourism. Tourism

Planning and Development, 7(1), 7–20.

Kim, H. & Richardson, S. (2003). Motion pictures' impacts on destination images.

Annals of Tourism Research, 30(1), 216–237.

88

Kim, S. & Long, P. (2012). Touring TV soap operas: Genre in film tourism research.

Tourist Studies, 12(2), 173–185.

Kim, S. (2010). Extraordinary experience: Re-enacting and photographing at screen

tourism locations. Tourism and Hospitality Planning & Development, 7(1), 59–

75.

Kim, S. (2012). Audience involvement and film tourism experiences: Emotional places,

emotional experiences. Tourism Management, (33), 387-396.

Kim, S. (2012). The Production and Consumption of Screen Tourism Experience. The

OR A? Case Study of Asian Audience's Responses to Hallyu and Korean TV

Dramas. Germany: Lambert.

Kim, S., Kim, M., Agrusa, J., Lee, A. (2012). Does a food-themed TV drama effect

perceptions of national image and intention to visit a country? An empirical

study of Korea TV drama. Journal of Travel & Tourism Marketing, 29(4), 313–

326.

Kozak, M. & Decrop, A. (2009). Handbook of Tourist Behavior. Theory and Practice,

US: Routledge.

Lee, S., Scott, D., Kim, H. (2008). Celebrity fan involvement and destination

perceptions. Annals of Tourism Research, 35(3), 809–832.

Leisen, B. (2001). Image segmentation: the case of a tourism destination. Journal of

Services Marketing, 15(1), 49–66.

89

Macionis, N. (Ed.) (2004). Understanding the film-induced tourist. Proceedings of the

International Tourism and Media Conference. With the assistance of W. Frost,

G. Croy, S. Beeton. 88-97. Melbourne, Australia.

Masson, J. (2002). Qualitative Researching. UK: SAGE Publications.

McKay, K. J. & Fasenmaier, D. R. (1997). Pictorial elements of destination image

formation. Annals of Tourism Research, 24(3), 537–565.

Mercille, J. (2005). Media effects on image. The case of Tibet. Annals of Tourism

Research, 32(4), 1039–1055.

Mestre, R., Del Rey, A., Stanishevski, K. (2008). The image of Spain as a tourist

destination built through fictional cinema. Journal of Travel & Tourism

Marketing, 24(2-3), 185–194.

Ministerio do Turismo do Brazil (2010). Turismo no Brasil 2011 - 2014. Edited by

Ministerio do Turismo. Brazil.

O'Connor, N., Flanagan, S., Gilbert, D. (2010). The use of film in re-imaging a tourism

destination: A case study of Yorkshire, UK. Journal of Vacation Marketing,

16(1), 61–74.

O'Connor, N. & Kim, S. (2014). Pictures and prose: exploring the impact of literary and

film tourism. Journal of Tourism and Cultural Change, 12(1), 1–17.

O'Connor, N. (2011). How can the film-induced tourism phenomenon be sustainably

managed? Worldwide Hospitality and Tourism Themes, 3(2), 87–90.

90

Pan, S., Tsang, N. (2014) Inducible or not— a Telltale from two movies. Journal of

Travel and Tourism Marketing, 31(3), 397-416.

Rezende-Parker, Morrison, A., Ismail, J. (2003) Dazed and confused? An exploratory

study of the image of Brazil as a travel destination. Journal of Vacation

Marketing, 9(3), 243-259.

Pikkov, U. (2010). Animasophy. Theoretical on the Animated Films: Estonian Academy

of Arts.

Riley, R., Baker, D., van Doren, C. S. (1998). Movie induced tourism. Annals of

Tourism Research, 25(4), 919–935.

Rodríguez del Bosque, I., San Martín, H., Collado, J., Salmones, M. (2009). A

framework for tourist expectations. International Journal of Culture, Tourism

and Hospitality Research, 3(2), 139–147.

Roesch, S. (2009). The Experience of Film Location Tourists. UK: Channel View

Publications.

San Martín, H., Rodríguez del Bosque, I. (2008). Exploring the cognitive–affective

nature of destination image and the role of psychological factors in its formation.

Tourism Management, 29(2), 263–277.

Schofield, P. (1996). Cinematographic images of a city. Tourism Management, 17(5),

333–340.

91

Shani, A., Wang, Y., Hudson, S., Gil, S. M. (2009). Impacts of a historical film on the

destination image of South America. Journal of Vacation Marketing, 15(3),

229–242.

Smith, S. L. J. (2010). Practical Tourism Research. Wallingford, Oxfordshire, UK,

Cambridge, MA: CABI International (CABI tourism texts).

Tapachai, N. & Waryszak, R. (2000). An examination of the role of beneficial images

in tourist destination selection. Journal of Travel Research, (39), 37–44.

Tasci, A. D. A. & Gartner, W. C. (2007). Destination image and its functional

relationships. Journal of Travel Research, 45(4), 413–425.

Tasci, A. D. A. (2008). Social distance: The missing link in the loop of movies,

destination image, and tourist behavior? Journal of Travel Research, 47(4), 494–

507.

Weaver, D. B. & Lawton, L. (2010). Tourism Management. (4th ed.), Milton: John

Wiley & Sons.

Yin, R. K. (2009). Case Study Research. Design and methods. (4th ed.), Los Angeles:

SAGE Publications.

92

Appendices

93

Appendix 1: Participant Documentation

1.1 Letter of Introduction

94

1.2 Information Sheet

95

96

1.3 Consent Form

97

Appendix 2. Recruitment of Participants

2.1 Physical Billboard

FUN RESEARCH!!

Beautiful Flinders University community,

I’m currently undertaking a research on the relationship

between animated feature films and tourists’

perceptions and expectations. This research aims to

understand the impact of the animated film Rio on your

perceptions and expectations of Rio de Janeiro. The research involves three stages, the first a pre-

movie interview, secondly the movie screening of Rio and

finally a post-movie interview. The interviews will take

approximately 60 minutes each. And the movie goes for

just under two hours. If you would like to participate

please contact the researcher at:

sali0059@flinders.edu.au

There will be a souvenir in compensation for your time

at the end of the post-interview.

The conditions for participating in this research are:

- Haven’t been to Brazil.

- Haven’t watched the animated film Rio.

Best Wishes!!

98

Billboard Advertisement at Flinders University Hall

99

Appendix 3. Interview Questions

3.1 Pre-interview Questions

PRE – INTERVIEW QUESTIONS

The impact of animation on tourist perceptions and expectations of a cinematized

destination.

The case of Rio.

SOCIO DEMOGRAPHIC QUESTIONS – HEAT UP

1. Genre:

2. Age

__18-29 years old __30-49 years old

__50-64 years old __65 years and over

3. What do you do at Flinders University?

Staff; Student; Eng. student; Masters/PHD

4. Nationality:

____________________

TRANSITION

Could you please identify Rio de Janeiro in this world map?

100

MAIN

1. How do you picture (imagine, know, belief) Rio de Janeiro? Any attributes that you

can associate with Rio?

2. Which social aspects do you imagine about Rio de Janeiro? (festivals, events,

tradition, attitudes, activity patterns, cultural norms, societal structures, ethical mores,

ideologies, cultural environment, food). PEOPLE

3. Which environmental aspects do you imagine about to Rio de Janeiro? (landscape,

climate, wildlife, landmarks, setting, special features, atmosphere).LANDSCAPE

4. Which physical aspects do you imagine about to Rio de Janeiro? (streetscape,

transportation, history, architecture). BUILT IN

5. Any icons or symbols that you can associate with Rio de Janeiro? Please describe

them, what do they mean?

6. What do you feel (sensation, thought, sentiments, emotions) about Rio de Janeiro?

7. If you imagine a holiday in Rio de Janeiro, how do you think it will be? Please

describe it. What type of activities do you think you might get involved in? (Expected

benefits)

8. Do you have any concerns about Rio (is it safe)?

9. Any further thought about Rio de Janeiro, something that we did not talked about?

101

3.2 Post-Interview Questions

Allusion: ‘after the film’.

1. How do you picture (imagine) Rio de Janeiro? Any attributes that you can

associate with Rio?

2. Which social aspects do you imagine about Rio de Janeiro? (festivals, events,

tradition, attitudes, activity patterns, cultural norms, societal structures, ethical

mores, ideologies, cultural environment, food). PEOPLE

3. Which environmental aspects do you imagine about to Rio de Janeiro?

(landscape, climate, wildlife, landmarks, setting, special features,

atmosphere).LANDSCAPE

4. Which physical aspects do you imagine about to Rio de Janeiro? (streetscape,

transportation, history, architecture). BUILT IN

5. Any icons or symbols that you can associate with Rio de Janeiro? Please

describe them, what do they mean?

6. What do you feel (sensation, thought, sentiments, emotions) about Rio de

Janeiro?

7. If you imagine a holiday in Rio de Janeiro, how do you think it will be? Please

describe it. What type of activities do you think you might get involved in?

(Expected benefits)

8. Do you have any concerns about visiting Rio de Janeiro? Is it safe?

9. Any further thought about Rio de Janeiro, something that we did not talked about?

102

Appendix 4. Venue Bookings Schedules magic

Timetable provided by Katy Hasenohr – administrative officer/School of Humanities

Day Dates Start End Building Room

23-Jun-2014 to 24-Jun-2014 (Daily) 09:00 17:00 HUMN 114

30-Jun-2014 to 01-Jul-2014 (Daily) 09:00 17:00 HUMN 114

Wed 02-Jul-2014 (Film Test) 14:00 17:00 HUMN NTH2

Thu 03-Jul-2014 09:00 17:00 HUMN 106

Fri 04-Jul-2014 09:00 17:00 HUMN 114

Thu 10-Jul-2014 (Screening Date) 17:00 19:00 HUMN NTH2

Fri 11-Jul-2014 09:00 17:00 HUMN 114

14-Jul-2014 to 15-Jul-2014 (Daily) 09:00 17:00 HUMN 114

Wed 16-Jul-2014 09:00 17:00 HUMN 106

Thu 17-Jul-2014 11:00 17:00 HUMN 114

103

Appendix 5. Research Memorabilia for Participants

104

Appendix 6. Table of Films used as Examples along the

Literature Review

Film Title Release

Year

Director/s Main Film

Location/Inspired in

Paris Je t’aime 2006 Joel David Coen, Nobuhiro

Suwa, Olivier Assayas

Paris

The Beach 2000 Danny Boyle Thailand

Motorcycle

Diaries

2004 Walter Salles Argentina, Chile, Cuba,

Peru, Venezuela

Ponyo 2008 Hayao Miyasaki Studio – Japan

Spirited Away 2001 Hayao Miyasaki Studio- Japan

Mulan 1998 Tony Bancroft, Barry Cook Studio – China

Kung Fu Panda 2008 John Stevenson, Mark Osborne Studio – China

The Lord of the

Rings

2001-

2003

Peter Jackson New Zealand

Encounters of the

Third Kind

1977 Steven Spielberg Wyoming, Alabama

Lion King 1994 Rob Minkoff, Roger Allers Computer African

Savannah

Up 2009 Pete Docter Studio Tepuys –

Venezuela

Captain Hima 2008 Tamer Hosny Al-Fayoum - Egypt

Balamory (TV series)

2002-

2005

Brian Jameson Isle of Mull – Scotland

Winter Sonata (TV drama)

2002 Korean Broadcasting System Namiseom Island - South

Korea

Django

Unchained

2012 Quentin Tarantino California and Wyoming

Saving Private

Ryan

1998 Steven Spielberg France, Ireland and

England

Harry Potter 2001-

2011

David Yates, Chris Columbus,

Alfonso Cuarón, Mike Newell

United Kingdom

Princess Mononoke

1997 Hayao Miyasaki Studio Ghibli – Japan

Wall-E 2008 Andrew Stanton Disney Studios

Avatar 2009 James Cameron Computer Fictional

Pandora

Before Sunrise 1995 Richard Linklater Vienna

Captain Correllis

Mandolin

2001 John Madden Cephalonia - Greece

105

Appendix 7. Ethics Approval by University