Film, an important tool for spreading information on tourist destinations, has attracted wide attention from the industry and academic circles. Many examples have confirmed the driving effect of film on tourism development. However, previous research has paid little attention to the development mechanism of film tourism and related actors as well as their roles. The development of film tourism not only needs impetus from a film, but also requires the participation of related stakeholders, including tourists, hosts, intermediates represented by travel agencies, and the surroundings. This study attempted to fill this gap by investigating systematically how the movie If You Are the One induced tourism.
If You Are the One is a Chinese movie in which Chinese characters discover the existence and charms of east Hokkaido, Japan. With a famous director and actors, humorous dialogue, and beautiful views, the movie has created interest among the Chinese public in the eastern part of Hokkaido. Accompanied by marketing efforts by various actors from the state to local governments, it has accelerated the promotion of east Hokkaido as a tourism destination for Chinese.
Based on the analyses of the contents of the movie and the tours depicted in it, we found that the movie has played a key role for Chinese to recognize the east of Hokkaido and motivated them to visit. The film locations are the most important parts of tours in east Hokkaido and elsewhere on the island.
Local hosts' attitudes toward Chinese film tourism also explored in this study, which is based on a case study of the town of Shari. Shari is pinpointed in both the movie and tours, but has received only limited visitor numbers and limited benefits from Chinese film tourism because of difficult access. Therefore, although there are many local stakeholders interested in Chinese tourists, few take active roles in hosting visitors.
If You Are the One attracts Chinese tourists to multiple areas, thus facilitating the decentralization of inbound tourism. Nevertheless, the short-term effectiveness of film tourism, asymmetric supply-demand ratio between guests and hosts, and political barriers between the two countries must be examined further in practice.
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