As Seen on Screen - Page 18

C2 Proficiency · Multiple Choice Reading · Ready for C2 Proficiency Student's Book, Macmillan

You are going to read a magazine article about film tourism. For questions 1–6, choose the answer (A, B, C or D) which you think fits best according to the text.

Rising to prominence in the 1990s, the trend of 'film tourism' really began to gather steam in the early 2000s thanks to the success of The Lord of the Rings film trilogy. In its wake, New Zealand, where the films were shot, is reported to have experienced an astonishing 50% surge in tourism. Over the years, a growing synergy has emerged between the tourism and the entertainment sectors, as countries try to actively promote themselves as settings for films or TV series in hope of reaping the rewards of increased tourism. Take the ground-breaking, global phenomenon, Game of Thrones. The TV series, which originally ran on the streaming network HBO from 2011–2019, was shot on location in various European countries. Particularly around the release of the last season, those locations saw a significant jump in tourism, with bookings to Iceland swelling by 166% and those to Croatia, by 68%. Here the coastal city of Dubrovnik, where the city of King's Landing was set in the series, proved particularly popular. Another prime example would be Zafra Castle in Guadalajara, Spain, which had a 488% increase in searches on TripAdvisor in one year after its appearance in the series, according to the travel platform. These figures coincide with research on the 'Game of Thrones effect,' which has found a correlation between the frequency and tendency of tourists to post photos of a film spot on social media with both the amount of screen time that spot is given in the show and where characters have the most intense scenes. But what motivates so many tourists to visit these film locations? In her book, Fan Sites: Film Tourism and Contemporary Fandom, postdoctoral researcher Abby Waysdorf identifies a few key factors: the desire to have a novel experience by visiting film locations; prestige aspects, such as the inherent status symbol of posting a selfie of yourself at the setting of a famous film; and a sense of personal involvement with film – fans paying a kind of tribute to something important in their lives. However, Waysdorf approaches her subject with caution (unlike so many amateur researchers who, due to a growing need for positive results, tend to overinflate the significance of their findings) and stresses that film tourism is a more complex phenomenon than it might at first appear. Tourists may indeed become aware of a new destination because of a film or TV series, but they may decide to visit based on a combination of other factors, such as being lured by attractive travel offers, a desire to learn about the place's history, or simply to enjoy idyllic scenery. Film tourism has been a boon for many tourist destinations, but an unexpected surge in visitors can have obvious downsides. After watching blockbuster film The Beach, hordes of tourists began descending on Maya Bay, a pocket of paradise on the coastline of Ko Phi Phi Leh in Thailand. At one point, up to 6,000 people were arriving daily. This unregulated, out-of-control tourism quickly precipitated coastline erosion and the destruction of coral reefs due to boats docking and shoreline swimming. In October 2018, Thailand's Department of National Parks, Wildlife and Plant Conservation announced that the area would be closed to give the ecosystem time to recover. Maya Bay was eventually reopened, but swimming is now banned and there is a strict cap on tourist numbers. Despite the possible downsides for local environments and communities, film tourism appears to be here to stay. National governments are even getting involved, proffering generous production incentives, in effect paying production companies to shoot within their borders. In many European countries, for example, even the smallest of independent film studios can bank on a cash rebate of between 20–30% of their production spending. Singapore subsidises a whopping 50% of qualifying expenses. These production incentives vary in scope and structure from place to place, but the objective is universal: a symbiotic financial relationship between countries and film production companies. There are, of course, caveats to consider. Production companies often have to meet a minimum amount of qualifying local expenditure, which can be high. And some countries even require a film or TV series to pass a 'cultural eligibility test.' Film and TV series are set in some of the most alluring locations on earth. Thus it's unsurprising that viewers would be motivated to travel to these places. The key is to manage it responsibly. If local communities are sufficiently prepared for the deluge of tourists heading their way, through awareness campaigns and other measures, and if local environments do not deteriorate, it seems that cross pollination between the film and tourism industries can be, on the whole, a positive phenomenon for cities and towns keen to boost their local economies.

It is the reason more producers are choosing to film in real-life settings.

It has coincided with the rapid growth of international travel.

It is revolutionising the film and television production industry.

It has created new opportunities for collaboration between certain industries.

What point is being made about film tourism in the first paragraph?

It partnered with travel websites to increase tourism at its filming locations.

It used tourist sites and historical monuments to create a feeling of authenticity.

It demonstrated the potential effect a TV series can have on tourism.

It had the ability to transform any film location into a tourist attraction.

Why does the writer refer to Game of Thrones?

her admiration for the careful research done by an academic

her surprise at the widespread lack of objectivity in academia

her distrust regarding the motives of some experienced researchers

her uncertainty about the type of methodology used in recent studies

In the third paragraph, what point about academic research does the writer emphasise?

Tourists may unwittingly participate in irresponsible holiday activities.

A natural area may be devastated by tourism unless protective measures are put in place.

Available as a free printable PDF worksheet with an optional answer key.

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