摘要
随着移动互联网时代的到来,影视旅游的研究逐步深化,其内涵和外延呈现扩大化趋势。该研究提出荧幕旅游这一新框架,并引入“媒介仪式”(media rituals)的传播学概念,在梳理媒体与旅游互动的3种基本形式后,明确媒介仪式参与荧幕旅游的主要机理,进行了3个方面的探索:第一,根据媒介仪式介入的有无,提出荧幕旅游的二元化模型,在此基础上深化为决策过程和景观过程的概念连续体;第二,依据媒介仪式介入水平和社会化程度建构了荧幕旅游二重连续体,基于本体论的视角据此探究了荧幕旅游有别于其他旅游形式的特殊性;第三,在明确荧幕旅游消费模式的基础上,梳理媒介仪式下旅游目的地的营销创新策略,旨在为新媒体时代荧幕旅游营销和学术研究提供新思路。
With the advent of the era of mobile Internet,the concept of“film and television tourism”has been extended into that of“screen tourism”with more abundant connotations.Screen tourism is more diversified in contents and richer in connotations,and is presenting the developmental trends of industrial integration,diversified scenic spots,individualized tourists,renewed contents,and comprehensive construction.However,few studies have been devoted to comprehensively analyzing the special tourism system of“tourists-tourism(communication)media-tourist destinations”,or exploring the interaction between tourists and media environment based on film and television viewed as both media and special tourist attractions.Therefore,this paper introduces the definition of media rituals in communication studies to understand screen tourism research with a sociological concept.Normally,depending on the causative factors on both sides of the media(screen tourists or tourist attractions),it is possible to examine screen tourism from both subjective and objective angles.On this basis,this paper attempts to redefine screen tourism and screen tourists under a holistic framework,thus distinguishing screen tourism from other forms of tourism.On the basis of defining screen tourism,screen tourists,media rituals,and other related concepts,this paper unfolds its discussion from three aspects.Firstly,according to the presence or absence of intervention by media rituals,a traditional dualistic model of screen tourism is proposed.The decision-making process of“objectivism”screen tourists is“tourism attraction decision-oriented”,while“subjectivism”screen touristschoice of tourist destinations and motivation are directly driven by the content of media communication such as film and television.According to the different motivations of decision,traditional film and television tourism behaviors and landscapes are deepened into a conceptual continuum of decision-making process and landscape process.Secondly,it constructs a double continuum of screen tourism based on the level of intervention by media rituals and the degree of socialization of media rituals,and explores the particularity of screen tourism that distinguishes it from other forms of tourism from the perspective of ontology.It is believed that tourists assume the identity of Culture Broker between media and tourism,two important human cultural activities.At the same time,media power participates in the shaping of tourism aesthetics,and the contents shaped by the media endow the original space as media communication function with the attributes of tourism attractions.Thirdly,on the basis of clarifying the consumption pattern of screen tourism,it sorts out the marketing innovation strategies of tourist destinations under media rituals.It holds that different products should be developed to cater to the life cycles of media contents,that stage play and plot orientation are the unique“selling points”of screen tourism,and that marketing should pay attention to the“differentiation”of tourists with different motivations.This paper aims to provide new ideas for screen tourism marketing and academic research in the new media era.
作者
韩磊
王安琦
谢双玉
李亚娟
李艳
HAN Lei;WANG Anqi;XIE Shuangyu;LI Yajuan;LI Yan(Wuhan Branch of China Tourism Academy,Wuhan 430079,China;School of Urban and Environmental Science,Central China Normal University,Wuhan 430079,China)
出处
《旅游学刊》
CSSCI
北大核心
2020年第7期49-60,共12页
Tourism Tribune
基金
国家自然科学基金项目“基于从业者视角的文化创意经济活动空间特征与影响机理研究——以武汉为例”(41601163)
教育部人文社会科学基金项目“长江经济带城市滨水公共游憩空间生产的过程、机制与效应研究”(19YJA840018)共同资助。
关键词
荧幕旅游
影视旅游
媒介仪式
媒介旅游景观
二重连续体
screen tourism
TV and film tourism
media ritual
media tourism landscape
double continuum
