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流行文化和旅游

论文价格: 免费 时间:2016-05-05 16:12:15 来源:www.ukassignment.org 作者:留学作业网
abstract 摘要
 
交涉和媒体的流行文化形式,如电影,电视和文学构建旅游目的地的形象在影响人们的节日决策过程中一个显著的作用。本文介绍了基于从笔者的日本游客到英国的调查结果目的地媒体表示的意义,简要分析在片中哈利·波特与魔法石,电视系列节目福尔摩斯的创造了英国的流行图像,比阿特丽克斯·波特的彼得兔的故事,所有这些都被确定为调查的影响力。这表明,在英国是这些媒体的作品为代表的方式对其中日本游客界定英国为目的地和英国的性格方面的影响。因此,媒体的流行文化形式可以促进,确认并在一个非常强大的方式加强特定的图像,视图和目的地的身份。Representations and images of tourist destinations constructed by popular cultural forms of media such as films, television and literature play a significant role in influencing people’s holiday decision-making process. This article illustrates the significance of media representations of destinations based upon findings from the author’s survey of Japanese tourists to the UK and briefly examines popular images of the UK created in the film Harry Potter and the Philosopher’s Stone, the television series of Sherlock Holmes, and Beatrix Potter’s Peter Rabbit stories, all of which were identified as influential in the survey. It suggests that the ways in which the UK is represented in those media works have implications for the ways in which Japanese tourists define the UK as a destination and the character of the British. Thus, popular cultural forms of the media can promote, confirm and reinforce particular images, views, and identities of destinations in a very powerful manner. 
 
1. Introduction 介绍
 
许多旅游产生的国家可以今天后工业,后现代,全球化的社会中,媒体,特别是电子视觉媒体,通过在全球范围内提供的资料,陈述及世界各地的图片了大量主宰人们的日常生活特点。媒体如电视,电影和书籍的流行文化形式是被欣赏和人民群众消费的喜悦,快乐,白日梦的源泉方便和普遍的娱乐,幻想以及对世界的理解在日常生活中(凯里,1988年)。可以说,这是这些媒体陈述和图像,人们的实际消费,而不是现实,并通过他们了解世界。在旅游方面,这是说交易60旅游研究6:1的图像,期待,梦想和幻想(塞尔温,1996;乡绅,1996年),旅游目的地的媒体表示和图像在影响人们的节日决策过程为基础,发挥显著作用赖以游客使在哪里参观选择(耿,1972;亨特,1975年,Gartner的数据,1989年;巴特勒,1990;更加稳定,1990; Echtner和Ritchie,1991)。在一切形式的媒体在无数的陈述和场所和旅游目的地建设了突出的作用。媒体的流行文化形式,如电影,电视节目和小说,这是不直接涉及旅游宣传或营销,已经越来越多地发挥影响旅游业的权力,因此游客游览目的地作为它的结果创造一个不断增长的全球性现象其特征为:一本书,电影或电视上。这种现象创造了文化旅游的新形式 - “电影引发的旅游”(Riley等,1998),“与媒体有关的旅游”(巴斯比和克鲁格,2001:316),和'文学旅游“(巴特勒,1990年)。这些旅游的新形式可以归纳为“大众媒体引发的旅游”。本文认为,大众媒体引发的旅游和说明媒体代表和流行文化构建的旅游目的地,主要是绘制在在笔者的日本游客到英国大不列颠(英国)的调查收集的数据图像的意义。Many tourist-generating nations can be characterized today by post-industrial, postmodern, globalized societies in which media, in particular electronic visual media, dominate people’s everyday life by providing a vast amount of information, representations and images of the world on a global scale. Popular cultural forms of the media such as television, films and books are accessible and pervasive entertainment that is enjoyed and consumed by masses of people as a source of joy, pleasure, daydreaming, and fantasy as well as understanding of the world in everyday life (Carey, 1988). It can be argued that it is those media representations and images that people actually consume rather than realities, and through which they understand the world. In tourism, which is said to trade in  
60 tourist studies 6:1 images, expectations, dreams, and fantasies (Selwyn, 1996; Squire, 1996), those media representations and images of tourist destinations play a significant role in influencing people’s holiday decision-making process as the basis upon which tourists make choices about where to visit (Gunn, 1972; Hunt, 1975; Gartner,1989; Butler, 1990; Stabler, 1990; Echtner and Ritchie, 1991). The media in all their forms play a prominent role in myriad representations and constructions of places and tourist destinations. Popular cultural forms of the media such as films, television programmes and novels, which are not directly concerned with tourism promotion or marketing, have increasingly exerted the power to influence tourism, creating a growing worldwide phenomenon whereby tourists visit a destination as a result of it being featured in a book, film or on TV. This phenomenon has created new forms of cultural tourism – ‘movie-induced tourism’ (Riley et al., 1998),‘media-related tourism’ (Busby and Klug, 2001: 316), and ‘literary tourism’ (Butler, 1990). These new forms of tourism can be grouped as ‘popular media-induced tourism’. This article considers popular media-induced tourism and illustrates the significance of media representation and images of tourist destinations constructed in popular culture, drawing primarily upon data collected in the author’s survey of Japanese tourists to the United Kingdom of Great Britain (the UK). This article discusses only partial findings of the survey related to images of the UK and briefly examines the popular images of the UK created in specific films, television programmes and literature which feature the UK and were identified as influential in the survey. 
 
2. Popular media-induced tourism 大众传媒诱导旅游
 
Popular media-induced tourism involves tourist visits to a destination which has strong associations or connections with films, television programmes and novels (literary depictions and figures) or their authors (Squire, 1993; Riley et al., 1998). Places where literary works were set or writers were born or lived have always attracted literary pilgrims. Similarly, many places that provided locations for films and television productions have become popular tourist destinations. Popular media-induced tourism thus involves places or film locations which have been popularized or signified as tourist destinations by those popular cultural products, which are widely and internationally distributed and consumed by groups of ordinary people. Popular media-induced tourism abounds in many countries, involving both developed and developing countries in the world. For example, films set in Africa such as Out of Africa (1985), Gorillas in the Mist (1988), and Mountains of the Moon (1990) prompted thousands of visitors from the United States to visit the African continent due to the windfall exposure of Africa provided by those films (Coloccia, 1997). A novel, Anne of Green Gables as well as subsequent novels written by Lucy Maud Montgomery stimulated international tourist interest in the places she wrote about in Prince Edward Island of Canada and  
Iwashita Media representation of the UK for Japanese tourists 61 literary images of the island have contributed to the development of the tourism industry in that area (Squire, 1996). In Japan, South Korea has recently been a very popular destination for Japanese women aged in their 30s, 40s and 50s.This is partly due to the so-called ‘Korean Wave’ that surged through continued repeats of Korean television dramas such as Winter Sonata, Stairway to Heaven and Beautiful Days, all of which were shown in 2003 and 2004 in Japan and whose major filming locations have attracted Japanese tourists. In the UK,William Wordsworth with his poems and Beatrix Potter with her Peter Rabbit stories have motivated many tourists from all over the world to visit the Lake District which inspired many writers and provided the settings for their works. The UK has also provided locations for more than 100 internationally distributed films and television productions, many of which have attracted overseas tourists. A wide range of films and television programmes, such as Brief Encounter (1945), The Prisoner (1968), Upstairs, Downstairs (1971–1975), Four Weddings and a Funeral (1994), Braveheart (1995), The Full Monty (1997), and Notting Hill (1999), have transformed their film locations into international tourist attractions with varying degrees of success. 
 
3. Images of tourist destinations and media representations 旅游目的地形象与媒介表征
 
In tourism research destination image is most commonly described as the impressions or perceptions that a person has of a destination (e.g. Hunt, 1975; Phelps, 1986; Gartner and Hunt, 1987). In addition to the individual’s personal image, it should be noted that there are stereotyped images that are shared by groups of people. Acknowledging those aspects of images, Lawson and Baud-Bovy (1977: 10) define the term ‘tourist destination image’ as ‘the expression of all … knowledge, impressions, prejudice, imaginations, and emotional thoughts with which a person or a group judges a particular object or place’. Payson (1980 cited in Regan, 2000) suggests that it is first necessary to understand what is a national image in order to understand why people visit a particular destination. Nobody is likely to visit a country for a holiday if he or she has a negative attitude towards its nation and dislikes it for a certain reason, while a person is more likely to visit a nation for tourism if he or she likes the country. Knowledge of certain aspects of a nation, its nature, culture or society, may result in the construction of a positive or negative attitude toward that nation.An interest in the nation and its positive image can eventually lead to an actual visit to that country. Many studies on image across several fields and disciplines show that image is generally constructed by two major forces: external stimulus – factors including various information sources, and personal factors (socio-economic, cultural and psychological characteristics of the tourist).Thus, people’s images of places are built up from the various information sources, combined with their characteristics. It is said that the nature of tourists’ perceptions and images of tourist  #p#分页标题#e#
62 tourist studies 6:1 destinations often depend upon touristic sources of information (promotional literature such as travel brochures, travel guidebooks, advertisements). Echtner and Ritchie (1991), however, point out that destination images are derived from a much wider spectrum of information sources, including the opinion of others (family/friends, and relatives), the general media and education. Goodall and Ashworth (1990) also argue that images of tourist destinations, in particular of a whole nation as a destination, are more often created as a result of the tourists’ general media exposure including popular culture than by the promotional activities of the tourism industry itself. Tourist destinations cannot be defined solely in terms of their geographical and physical attributes because places become increasingly differentiated symbolically, that is, places are valued and shaped differently by their associated images, signs, and symbols (Lefevre, 1991). There is nothing ‘natural’ about tourism destinations as such, because they are socially and culturally constructed by human intervention to be tourist oriented.Any destination can be intentionally shaped by people and society to carry meanings, values, associations, and images which are special and significant to tourists.What makes places different or significant is the way in which people look at them and what meanings they ascribe to or derive from them. Places, spaces and landscapes can acquire identities for tourists through various forms of visual, textual and symbolic media representations. Particular places thus become famous for their ‘mediated’ nature (Urry, 2002) or their media fame. In postmodern media-dominated societies where people increasingly depend on the media to signify reality, the media representations approximate more closely to people’s expectations of reality, and the reality is itself a representation (Urry, 2002). The media have consequences for the way people imagine different places and even nations, shaping people’s geographical imaginations. The ways in which the world has seen a particular nation can be crystallized by popular cultural forms of the media such as films, television and literature featuring the nation.This is because many popular cultural forms of the media tend to display and visualize the history, architecture, landscapes, events, mythology, national characters, and ways of life of a particular country. Such information derived from media representations forms some basis of people’s understanding and knowledge of the country. In other words, the ways in which the nation is represented by films, television series and literary works might have an enormous influence worldwide in perpetuating a particular vision and image of the country amongst overseas audiences. Furthermore, popular culture offers emotional representations. Literature, films and television series can induce people to travel not only by the attractive physical properties (spectacular scenery or landscape and so on) portrayed but also by their associated themes, story-lines, events, and characters, shaping audiences’ feelings, emotions, and attitudes towards places. Readers or audiences can be involved in the narrative contexts in which locations and unique experiences  
Iwashita Media representation of the UK for Japanese tourists 63 are grounded and those locations and experiences are enhanced in their memories by association with characters (famous actors played them), events and settings (Riley and Van Doren, 1992). Schama (1996) states that a whole world of those associations and sentiments are enclosed in people’s minds as memories, myths and obsessions, and give meaning to the scenes and landscapes. In some cases those locations, events, and characters have become iconic attractions as a result of being given such powerful meanings. People tend to be motivated to visit a particular place by specific images, memories, associations, emotional commitments or attachment to the place, and meanings (Schama, 1996). Films, television programmes, and literature have an excellent ability to lead people to a strong interest in a destination by providing them with such imagery, memories, myths, icons, and emotions. 
 
4. Britain Travel Club survey 英国旅行社调查
 
This study aimed at investigating the effects of the media as popular culture on international tourism in contemporary globalized society, focusing on what role the popular cultural forms of the media play in influencing overseas tourists’ behaviour in terms of the destination choice process.As noted earlier,although popular media-induced tourism abounds in many countries, popular media-induced tourists tend to be generated in advanced postmodern, globalized societies such as the USA, European countries and Japan. This research project, therefore, adopted a case study of Japanese international tourism to the UK because the two countries provide examples of postmodern-globalized societies and the development of international tourism in both countries (the UK as a receiving country with a wide range of media-induced attractions and Japan as a generating country) is significant. Having decided to use a case study of Japanese tourists who have an interest in visiting the UK in advance, the selection of a sample was needed as part of the case study. One of the most obvious criteria in sampling is to have access to the person. Japanese members of the Britain Travel Club were identified as the most suitable sample population for this research project because it was presumed that most members were potential or repeat visitors who already had a shared interest in the UK as a tourist destination.The Britain Travel Club was originally launched in 1998 by the British Tourist Authority (presently VisitBritain) Japan Office and it was re-launched as an Internet-based club in 2000. Convenience sampling, one of non-probability techniques, was thus used for this study. 
 
4.1 Survey and individual interview samples and data collections 
The sample population of this study consisted of adults (18 years of age or older) derived from the membership list of the Britain Travel Club, maintained by the British Tourist Authority (presently VisitBritain) Japan Office. As of 20 June 2002, the club had a membership of 7020. The majority of the members  
64 tourist studies 6:1 (71.3%) were female and 28.7 per cent were male, reflecting a profile of Japanese visitors to the UK for a holiday, that is about 60 per cent of the total visitors for holiday visits were women while 40 per cent were men in 1999 (British Tourist Authority, 2000). The proportion of the population who own computers and have Internet access in Japan has increased as in many other advanced societies.There is growing popularity of online data collection survey, mainly because of its low-cost and its effectiveness in providing information in a very short time, compared to conventional survey methods such as postal surveys (Tierney, 2000; Litvin and Kar, 2001). Since the Britain Travel Club was an Internet-based club, this study adopted an online survey methodology in which a self-administered questionnaire was placed on the web site and answers were directly typed into the programmed questionnaires. The questionnaire was put on the web site of the Britain Travel Club for about two months from January 2002 and a total of 323 completed questionnaires were returned. The majority of respondents of the survey (71.5%) were female while 28.5 per cent were male. Of female respondents, 43.7 per cent were single office workers, who accounted for the largest segment of the sample (approximately 30% of the total respondents).These people are the type of Japanese consumers who have access to overseas travel in terms of time and money as well as to the Internet.The profile of the overall sample was compared to that of all members of the Britain Travel Club. The comparison of the two profiles revealed that there were no significant differences in terms of gender, marital status, age and occupation. It can be argued, therefore, that survey respondents were representative of all members of the Britain Travel Club. The survey was complemented by semi-structured personal face-to-face interviews to investigate in more depth the decision-making process, how and why they chose the UK and what roles the media play in influencing their actual travel choice behaviour (where tourists actually go).Thirty interviewees were selected from respondents of the questionnaire survey who were willing to participate in the individual interviews and had the common characteristic that their interest in the UK as a destination had been influenced by popular cultural forms of the media.The sample consisted of 22 females (73%) and eight males (27%). The face-to-face interviews were conducted in Japanese in the Tokyo metropolitan area in June 2002. The sample population of this study was thus not randomly selected and the scopes of the survey and the interviews were restricted to the members of the Britain Travel Club with Internet access, about 70 per cent of which were females.This study excluded other tourists who had similar interest in the UK as a tourist destination, but were not members of the Internet-based club. Although e-mail use has become ubiquitous in Japan, there is still a gap between e-mail users and the more generalized population. The results of the survey should not therefore be taken as representing the whole population of Japanese tourists who have an interest in visiting the UK.  
 
4.2 Images of the UK and the British 
Part of the project focused on issues related to images of the UK both as a nation in general and as a destination. In terms of overall images of the UK as a nation it was found from the results of the questionnaire survey that tradition (customs or beliefs that have continued from the past to the present) stood out as the most popular image of the UK, selected by 91.4 per cent of respondents. The Royal family (84.9%) and tea (84.6%) were the next most popular images, followed by gardens and history, both of which were chosen by more than 70 per cent of respondents. Almost half of the respondents thought of aristocrats, rural life, formality and roses. On the other hand, the words associated with modern aspects of the country such as innovative, urbanized, and fashionable were identified by only a small proportion of the respondents (just over one in ten). Respondents perceive the British people as being dominated by a gentlemanly ideal. Almost two-thirds (62.7%) thought of the British as gentlemanly, with related high scores for behaving and dressing in a simple way (28.1%), and being humorous (21.3%). The UK was thus most likely to be regarded as a ‘very traditional country’ with history, many rural areas and gardens, in which the monarchy still exists while the British are gentlemanly and humorous, behave and dress in a simple way, and drink tea a lot. Despite the fact that many respondents were repeat visitors to the UK, they had somewhat stereotypical images of the country and its inhabitants. The questionnaire survey indicated that respondents saw the UK as a country with lots of natural scenic beauty, beautiful rural areas, gardens, and many cultural and historic attractions. Those images were shared among different groups of the sample with different levels of experience with the UK because there was no significant difference between those who had never been to the UK and those who visited it repeatedly.Although the UK was regarded as a relatively expensive place to visit due to the high price of goods, the overall image of the UK as a tourist destination was positive.The qualitative dimension of the study indicated that the respondents who were identified as repeaters, had a more positive picture of the UK as the country whose inhabitants are kind and they can be assured of feeling comfortable and relaxed.They stressed the psychological characteristics of the country, such as high level of safety, atmosphere or mood, and their feelings towards the UK.This image of the UK seemed to be largely based upon their own favourable first-hand experiences. #p#分页标题#e#
 
4.3 Information sources influential in generating and increasing interest to travel to the UK 
Asked about what made the respondent first become interested in the UK in general, the results indicated five sources which were almost equal in importance; media (14.8%), British literature (13.9%), English language (13.0%), British music (13.0%), and Peer groups/family (12.7%).This indicated that there was no single source of information that had a strong impact on respondents in  
66 tourist studies 6:1 generating interest in the UK in the first place. It can be argued, however, that certain aspects of British culture such as language, literature and music act as a catalyst for generating interest in the UK in the first place. The survey finding revealed that films and television programmes featuring the UK were the most important source of information in increasing interest in travel to the UK, listed by 70.1 per cent of respondents, followed by books about the UK and British literature (64.2%), travel guide books (57.7%) and British Tourist Authority’s promotional materials (47.5%). The results indicated that popular media such as films, television programmes and literature that are not concerned with tourism promotion had a greater power to increase interest in travel to the UK than tourism promotional materials.Women appeared slightly more likely to be influenced by literature (65.8% vs 60.9%) and film/television programmes (71.9% vs 66.3%). Travel agents, including their brochures, travel magazines, word-of-mouth and advertisements did not exert a great deal of influence in generating or increasing interest to travel to the UK.Travel agents and advertisements were overtaken by non-tourist information sources, the general media such as news on television and radio, and newspapers. Tourist information sources may be used frequently by tourists when they actually plan their trip to the UK, but do not have the greatest power to generate or increase interest of uncommitted potential tourists in travelling to the UK. 
 
4.4 Influential popular media 
In order to identify which films, television programmes and literature (authors) influenced respondents, respondents whose interest was increased by the popular media were asked to select all items from a pre-identified list of 36 films, 9 television productions and 19 authors. All these cultural products had a British subject matter or setting. The two most influential films were Harry Potter and the Philosopher’s Stone (2001) and Notting Hill (1999), both of which were selected by about 37 per cent of the respondents as the film by which interest in visiting the UK was increased.The first film of Harry Potter and the Philosopher’s Stone adapted from J.K. Rowling’s phenomenally successful children’s novels had become a cultural phenomenon in Japan and the film also enjoyed a huge commercial success. Thanks to the film, King’s Cross station in London that provided a backdrop for the book has become an iconic attraction. Many respondents from qualitative interviews expressed their interest in visiting the imaginative platform nine and three-quarters at King’s Cross station in London from which the Hogwarts Express, a steam train, leaves. Similarly, many respondents have already visited Portobello Road and a bookshop that provided a model and a name for the bookshop featured in the film Notting Hill. Shakespeare in Love (1999) and a classic film My Fair Lady (1964) were the next most influential films identified by a quarter of respondents. In personal interviews a female respondent whose interest in visiting the UK was increased by seeing the film My Fair Lady, stated that it was more than 30 years ago when she first watched the film and she was  
Iwashita Media representation of the UK for Japanese tourists 67 Table i. Films and television programmes (or videos) which respondents had seen and which had increased their interest in visiting the UK Title and year film was first released or broadcast in Japan A B (%)* 1. Sherlock Holmes series (1985-1995, NHK-TV) 156 89 39.2 2. Harry Potter and the Philosopher’s Stone (2001) 135 85 37.4 3. Notting Hill (1999) 164 83 36.6 4. Agatha Christie’s Poirot series (1990-NHK-TV) 130 66 29.1 5. Mr Bean series (1990-NHK-TV) 175 59 26.0 6. Shakespeare in Love (1999) 132 56 24.7 7. My Fair Lady (1964, 1974, 2000) 165 53 23.3 8. Miss Marple series (1985-1992,NHK,Tokyo 12-TV) 88 45 19.8 9. Elizabeth (1999) 115 44 19.4 10. Bridget Jones’s Diary (2001) 79 43 18.9 11. Jane Eyre (1995) 107 40 17.6 12. The Englishman who Went up a Hill but Came Down a Mountain (1996) 80 40 17.6 13. The Secret Garden (1993) 80 40 17.6 14. The Remains of the Day (1993) 83 39 17.2 15. Sense and Sensibility (1996) 82 38 16.7 A= Number of respondents seeing the production B= Number of respondents with increased interest * Percentage indicates the proportion of those who became more interested in travel to the UK after seeing the film or television production amongst the respondents who selected film or television programmes as the sources of increased interest in travel to the UK. Valid sample number: 227 impressed by the dawn scenes of London streets with historical appearance and the magnificent scenes of the Ascot horse race. In terms of television programmes, the Sherlock Holmes series (39.2%) was the most frequently cited programme and increased interest in more than half of those who saw the programme, followed by the Poirot series (29.1%), Mr Bean (26.0%) and Miss Marple series (19.8%). All these four television series were shown and repeated on major television channels and are available on videos or DVD and hence have been widely seen among respondents. In personal interviews a female informant who mentioned the Sherlock Holmes series as the television programme which increased her interest in the UK, explained that it was the beauty of the scenery and London streets featured and the story-line that impressed her most and motivated her to visit the UK. Comments from respondents of personal interviews indicated that Mr Bean with his humour rooted in British culture projects a strong image of Britishness. Table 1 indicates that many influential films and television programmes are adaptations from literary works. Although contemporary society has been increasingly dominated by the visual media such as films and television, the results prove that literature still has power to influence readers. It was also found  
68 tourist studies 6:1 in individual interviews that most respondents had encountered influential literary works in their childhood and those who enjoyed reading a particular book tended to be motivated to see the film or television adaptation as well.This indicates that literature has had a strong ‘sleeping’ or long-term effect on respondents’ destination processes. As expected from the profile of respondents, Beatrix Potter with the Peter Rabbit stories was the most popular writer who had a positive impact upon respondents’ interest in visiting the UK (42.8%), followed by two popular mystery writers, Arthur Conan Doyle (40.4%) and Agatha Christie (38.5%), and Emily Bront. (33.2%) whose novel Wuthering Heights is enormously popular among Japanese readers. Another Bront. sister, Charlotte, was also widely read and was mentioned by about 25% of respondents (see Table 2).A similar number of respondents were influenced by other literary giants such as William Shakespeare (28.8%) and Jane Austen (22.6%). Qualitative interviews confirmed that many respondents encountered those literary works, in particular English children’s literature, in their childhood and they function as the seeds of the desire to travel to the UK, constructing subconscious familiarity toward the UK.A contemporary author,J.K.Rowling was also included in the top 10 and this means that her works were read by mature readers. Her Harry Potter books have so far sold well over 15 million copies in Japan and all four books published had topped the best seller lists. Many respondents have visited Hill Top Farm in the Lake District, the Sherlock Holmes museum (221B Baker Street, London) and Haworth, associated with the Bront. sisters. It seems that stories with settings of real places and fantasy-based characters have a more powerful effect on readers in generating interest in the place. 
 
5. Representation of the UK as a tourist destination in selected films, television programmes and literature 在选定的电影,电视节目和文学的英国代表性的旅游目的地
 
The following sections briefly sketch the way in which the UK is represented and the images that are created in the film Harry Potter and the Philosopher’s Stone, the television series of Sherlock Holmes, and the literary works of Beatrix Potter. All these were identified as the most influential in each of these forms of medium, and through content and semiotic analyses the aim now is to look at the wider cultural meanings conveyed by specific signs, icons, and symbols. Attention was also paid to specific locations that were filmed or depicted in the production because they are essential contributors to the UK’s image creation. 
 
5.1 Film Harry Potter and the Philosopher’s 
Stone The film’s setting is in contemporary Britain but it is also set in a fantasy, magical world and the central theme of the film is ‘magic’.The story is about Harry Potter, who learns on his 11th birthday that he is the orphaned son of two powerful wizards and possesses magical powers of his own.The film was shot in the UK, making great use of locations around the country, ranging from King’s  
Iwashita Media representation of the UK for Japanese tourists 69 Table ii. Writers whose works increased respondents’ interest in visiting the UK Author (influential works) A B (%)* 1. Beatrix Potter (A Tale of Peter Rabbit etc.) 152 89 42.8 2. Arthur Conan Doyle (Adventures of Sherlock Holmes, etc.) 156 84 40.4 3. Agatha Christie (Miss Marple, Poirot, Partners in crime, etc.) 149 80 38.5 4. Emily Bront. (Wuthering Heights) 131 69 33.2 5. J.K. Rowling (Harry Potter and the Philosopher’s Stone, etc.) 109 66 31.7 6. William Shakespeare (Hamlet, Macbeth, etc.) 152 60 28.8 7. Lewis Carroll (Alice’s Adventures in Wonderland, etc.) 145 53 25.5 8. Charlotte Bront. (Jane Eyre) 113 51 24.5 9. Jane Austen (Pride and Prejudice, Emma, Persuasion, etc.) 92 47 22.6 10. A.A. Milne (Winnie The Pooh, The House at Pooh Corner) 114 44 21.2 A= Number of respondents reading the work B= Number of respondents with increased interest * Percentage indicates the proportion of those who became more interested in travel to the UK after reading the work amongst the respondents who selected literature as the sources of increased interest in travel to the UK. Valid sample number: 208 Cross Station, which has become an iconic tourist attraction as previously mentioned, historic sites to ordinary semi-detached houses in a street in a suburb. Since the story mainly evolves in the wizard school, Hogwarts, both its exteriors and interiors, are visually prominent in the film.The school looks like a giant castle and the film-maker created the school from shots at several historic sites such as Lacock Abbey, Oxford University, the cloisters in Gloucester Cathedral, and the Chapter House of Durham Cathedral (see Table 3 for actual filming locations).The scenes of broomstick-flying lessons and the practice of the Quidditch match were filmed in the courtyards of the imposing castle of Alnwick in Northumberland. The shot of the exterior of the castle with the green courtyards was most frequently included in the film.All scenes filmed at those historic sites with old buildings and ancient architecture convey an impression of the UK of history and antiquity.The film also contains many portrayals of school life, in particular of an old boarding school, in which no pupils engage in computer games or the Internet. Furthermore, ceremonial events and school uniform of black robes, grey V-neck sweaters, grey flannel skirts and trousers, white shirts and striped ties, and teachers wearing gowns, can give an image of Hogwarts as very traditional British-style public school.All those portrayals function as a sign of ‘Britishness’ defined by ‘tradition and formalities’. Thus, this film gives Japanese viewers an impression of the UK as a country of tradition, history, antiquity, and formalities. Harry is portrayed as a very polite boy who frequently uses the word ‘Sir’ when talking to his superiors. Harry can be viewed as quintessentially British  #p#分页标题#e#
70 tourist studies 6:1 Table iii. Filming locations for Harry Potter and the Philosopher’s Stone Alnwick Castle,Alnwick, Northumberland, England (Hogwarts School of Witchcraft and Wizardry: broomstick flying lessons) Australia House, Strand, London (Gringotts Bank) Bodleian Library, Christ Church College, Divinity School, Oxford, England (Hogwarts School, Sanatorium Scenes, Library Scenes) Durham Cathedral, Durham, England Glen Nevis, Fort William, Highlands, Scotland Gloucester Cathedral, Gloucester, England (Hogwarts School of Witchcraft and Wizardry: exterior scenes) Goathland Station,Goathland,North Yorkshire,England (Hogsmeade station) Harrow School, Middlesex, England .King’s Cross Station, London (Platform 934 ) Lacock Abbey, Lacock,Wiltshire,England Leadenhall Market, Lime Street, London London Zoo, Regent’s Park, London Martins Heron, Bracknell, Berkshire, England (Privet Drive, Harry’s aunt and uncle’s house) Pedestrian Bridge,York Station,York, England (Hagrid passes tickets for Platform 934 to Harry) .St Pancras Station, London (exterior of King’s Cross Station) West Highland Railway Line, Scotland (Train Journey to Hogwarts) Source: Internet Movie Database (2002) due to his gentlemanly behaviour.The film promotes or reinforces a traditional image of the British national character as ‘polite and gentlemanly’ by the representation of the main character of Harry Potter. 
 
5.2 Granada Television Sherlock Holmes series 
A long-running television series of Sherlock Holmes adventures made by Granada Television has been screened or re-screened in a total of 77 countries including Japan and has proved to be a worldwide success (Haining, 1986). In Japan, all four series, The Adventures of Sherlock Holmes, The Return of Sherlock Holmes, The Case-book of Sherlock Holmes, The Memoirs of Sherlock Holmes, and five special television movies were shown between 1985 and 1994.The series has proved to be very popular amongst Japanese audiences and the productions have been often rebroadcast. The series have 41 episodes in total and all stories feature Sherlock Holmes’s residence in Baker Street in London and the main setting of 17 episodes is London in the Victorian era (the late 1890s and the early 1900s).Many of those episodes include scenes of gas-lit London streets often with fog, and old-fashioned carriages or four-wheelers, capturing the atmosphere of Victorian London.Although much of the filming of ‘London’was done on a custom-built ‘Baker Street’ of three-storey terraced buildings at Granada’s Manchester studio,  
Iwashita Media representation of the UK for Japanese tourists 71 Table iv. Filming locations for Granada Television Sherlock Holmes series (episode titles given in brackets) Manor houses (stately homes) Adlington Hall, Prestbury, Cheshire (The Speckled Band, The Solitary Cyclist, The Abbey Grange) Arley Hall, South Manchester (The Greek Interpreter, The Speckled Band) Baddesley Clinton,Lapworth,Warwickshire (The Musgrave Ritual) Caspesthorne Hall, Macclesfield, Cheshire (The Greek Interpreter, The Second Stain) Chatsworth, Derbyshire (The Priory School, The Master Blackmailer) Croxteth Hall, Croxteth, Liverpool (The Blue Carbuncle) Dunham Massey, Cheshire (The Abbey Grange) Great Moreton, Congleton, Cheshire (The Crooked Man) Haddon Hall, Bakewell, Derbyshire (The Priory School) Heaton Hall, Heaton Park, near Manchester (The Naval Treaty) Lanyon Quoit, Madron, Penzance, Cornwall Leighton Hall, Carnforth, Lancashire (The Dancing Men) Leck Hall, Over Leck, near Kirby Lonsdale, Cumbria (The Resident Patient) Lyme Hall, Lyme Park, South Manchester (The Naval Treaty, The Priory School) Peckforton Castle, Peckforton, Cheshire Pott hall, Pott Shrigley, Macclesfield, Cheshire (The Naval Treaty) Tabley House, Knutsford, Cheshire (The Abbey Grange) Tatton Hall,Tatton Park, Cheshire (The Dancing Men, The Greek Interpreter, The Speckled Band, A Scandal in Bohemia, The Final Problem, The Empty House) The Manor House, North Rode, Macclesfield (The Crooked Man) Uphall, Hillington, near King’s Lynn, Norfolk (The Man with the Twisted Lip) Willington Hall, near Tarporley (The Solitary Cyclist) Heritage steam railways Keighley & Worth Valley Railway,Yorkshire (The Final Problem) Bluebell Railway, Uckfield, Sussex (The Greek Interpreter) Others (villages, streets, colleges, area, etc.) Bangor racecourse, Bangor,Wales (Silver Blaze) Brimham Rocks,Yorkshire (The Hound of the Baskervilles) Cadgwith, Cornwall (The Devil’s Foot) Castleton Cavern, Derbyshire (The Priory School) Chethams College (The Red Headed League) Derwentwater, Cumbria (The Disappearance of Lady Frances Carfax) Kynance Cove, Lizard, Cornwall (The Devil’s Foot) Lanyon Quoit, Madron, Penzance, Cornwall (The Devil’s Foot) Mount’s Bay, Cornwall (The Devil’s Foot) Nine Maidens Stone Circle, Boskednan, Cornwall (The Devil’s Foot) Stanton (a Cotswolds village) (The Last Vampyre) The Norfolk Broads, Norfolk (The Sign of Four) The Thames, London (The Sign of Four) West Penwith Moors, Cornwall (The Devil’s Foot) Source: Internet Movie Database (2002), Haining (1986), and Barnes (2002) All locations are in England unless otherwise stated  
72 tourist studies 6:1 actual streets in London, Manchester and Liverpool were also used for London scenes.Viewers can thus view and feel the distinct ‘old’London in the Victorian era and the London life through those episodes.This mythical representation of foggy London in the series is very impressive, which may remain firmly etched in Japanese viewers’ memory. It appears that many clients who need Holmes’ help as a detective are wealthy, upper-class people who live in large country houses, or those employed by them.Ten of Holmes’ investigations in the series therefore mainly take place at country houses or manor houses which have extensive parks and beautiful gardens in the countryside.The production-maker made a great use of locations in England (see Table 4),including historic buildings and picturesque manor houses to evoke the atmosphere of the UK in the Victorian era (Haining,1986).The centrality of the country house as a setting for stories is one of the characteristics of the production.The frequent display of manor houses,both their exteriors and interiors, can signify historical aspects of the UK, and the depth of British history. Furthermore,in order to investigate cases,Holmes and Watson frequently take a train journey to the countryside, followed by a short journey by a carriage in the countryside, which shows to viewers a variety of beautiful natural landscapes in the UK, ranging from the stern and wild moorland landscape in The Hound of the Baskervilles, Cornwall, with its rocky coast, featured in The Devil’s Foot,to the Lake District in The Disappearance of Lady Frances Carfax.Thus, the series can promote an image of the UK as a country rich in nature and natural landscapes. In terms of images of British people described in the production, many male characters are dressed in black-tailed suits and shiny top hats while many female characters are also dressed in elegant style, conveying a dignity of the dress and features, and producing an image of the UK as a country of elegant ladies and gentlemen. Holmes is portrayed as cynical and eccentric with an omniscient brain, while Doctor Watson can be seen as a typical British gentleman whose attitude to women is chivalrous. Japanese viewers may see Holmes and Doctor Watson as archetypes of the British gentleman. 
 
5.3 Beatrix Potter’s tales 
There are 23 books written and illustrated by Beatrix Potter whose first book The Tale of Peter Rabbit was published in Japanese in 1971 and who is known as a creator of Peter Rabbit in Japan partly due to the character-related merchandizing activities, such as china, dolls and television advertising.The popularity of Beatrix’s stories amongst the Japanese may be largely explained in terms of the cuteness of her little animal characters, especially Peter Rabbit, illustrated in her stories. Her books are enjoyed not only by children but also by many mature Japanese readers. The Lake District where Potter spent many summers and Hill Top, a 17thcentury Lakeland farmhouse which she bought in the village of Near Sawrey, became the main setting for the world of Peter Rabbit and his friends. Many  
Iwashita Media representation of the UK for Japanese tourists 73 Table v. Locations illustrated in Beatrix Potter’s stories (titles of book given in brackets) Buckle Yeat (now B&B), Near Sawrey (The Tale of the Pie and the Patty-Pan) Derwent Water (The Tale of Squirrel Nutkin) Esthwaite Water (The Tale of Mr. Jeremy Fisher, The Tale of Jemima Puddle-Duck) Fawe Park gardens (The Tale of Benjamin Bunny) Hawkshead (The Tale of Johnny Town-Mouse, The Fairy Caravan) Hill Top – a farmhouse including a garden and farmyard, Near Sawrey (The Tale of the Pie and the Patty-Pan, The Tale of Tom Kitten, The Tale of Samuel Whiskers, The Tale of Jemima Puddle-Duck,The Tale of Pigling Bland) Near Sawrey village (The Tale of Ginger and Pickles, the Tale of Pigling Bland, The Tale of Johnny Town-Mouse, The Fairy Caravan) Newlands Valley (The Tale of Mrs.Tiggy-Winkle) The Tower Bank Arms (pub), Near Sawrey (The Tale of Jemima Puddle-Duck) Skelgill Farm (The Tale of Mrs.Tiggy-Winkle) Source: Frederick Warne & Co. (1994), Hallinan (2002) strings of tales are based on places and things she had seen in the Lake District, which had been her inspiration, motivation and model (Davies and Pemberton-Pigott, 1988) (see Table 5 for actual locations illustrated). A quarter of the tales (seven tales) are set at Hill Top, and in Near Sawrey village. Potter’s stories and illustrations contain rich depictions of rural life in the village surrounded by beautiful and rich nature. Natural landscapes surrounded the village in the Lake District, in particular lakes, valleys and hills, are illustrated in many stories. Hill Top’s porch with climbing roses and its garden with its profusion of roses, foxgloves, sweet-peas and lupins are clearly depicted in the stories’illustrations.Another beautiful garden in the village with lots of flowers, a cottage garden, and Mr McGregor’s vegetable garden, are also featured in some stories. Many scenes of the interiors of Hill Top Farm, ranging from the old-fashioned kitchen range, the fire, the kitchen dresser, to the staircase, are also vividly illustrated in her stories.A quiet country life and the village way of life, such as tea parties are portrayed in several of her tales. The frequent display of beautiful natural landscapes, gardens, old things and furnishings can signify a particular way of British life in which people love nature and gardens and value keeping old things.The importance of tea as a social event in the British way of life is also signified, creating an image of the UK as a country with a tea-drinking custom. Squire (1993) states that part of the appeal of Potter’s books lies in their depiction of English rural life, which creates a romantic image of the UK in readers’ minds as a rural idyll away from the speed and bustle of modern urban life. Many scenes painted in Potter’s stories can create a vision of village life as the ideal existence and celebrate the quiet gentle country life for the majority of Japanese people living in towns and cities. With the idealized images of rural British society, Potter’s stories can thus project the UK as a country of rural beauty and the countryside with gentle scenery.  #p#分页标题#e#
74 tourist studies 6:1 5.4 Images of the UK and appeal to Japanese tourists As already shown, there is some overlap of images of the UK and the British between those perceived by the respondents and those created by the popular media. The perceived image of the British as being ‘gentlemanly’ held by respondents correspond with the popular image constructed in the film Harry Potter and the Philosopher’s Stone and the Sherlock Holmes television series. Images of the UK in terms of its attributes such as heritage (a long and rich history and old buildings), scenic natural landscapes, and rural areas constitute dominant motifs in the Japanese tourist construction of the UK.The representations of the UK as a country of beautiful rural landscape and countryside in the Sherlock Holmes series and Beatrix Potter’s books match the perceived image held by the Japanese respondents.The Sherlock Holmes series and Beatrix Potter’s books, both of which have been exposed to Japanese audiences over decades, may have contributed to creation of the existing perception of the UK as a country rich in heritage and natural landscapes.The image of the UK as a tea-drinking country that many Japanese people hold also echoes in some of Potter’s stories.The more recent film Harry Potter and the Philosopher’s Stone (2001) can also perpetuate the image of the UK as a country of tradition, history and heritage. In Japan there has been the popularity of scenic tourism in which the qualities and natural significance of landscape are valued, and such qualities have become important in tourists’ decisions about where to spend their holiday. For Japanese tourists, the beauty of the countryside and preserved nature, including the natural scenery and atmosphere of the UK were strong attractions, and what they seek when travelling in the UK. 
 
6. Conclusion 总结
 
This article has outlined the significance of contemporary popular media representations of destinations using a case study of Japanese tourism to the UK. The survey clearly indicated that, to some extent, the respondents had a general interest in the UK in the first place and then increased their interest in visiting or revisiting the UK for a holiday as a result of exposure to films, television programmes and literature featuring the UK.The ways in which the UK is represented in non-touristic practices such as films, television pro-grammes and literature have implications for the ways in which Japanese tourists define the UK as a destination and the character or behaviour of the British. Regardless of the different level of experience with the UK, survey respondents had similar or stereotypical images of the UK, especially in terms of its physical attributes such as picturesque natural landscape, beautiful scenery and rural areas, which constitute dominant motifs in the Japanese tourist construction of the UK.This suggests that people are now able to construct collective images of a destination partly or largely based on its media representations or imaginative travel without having had direct experience of  Iwashita Media representation of the UK for Japanese tourists 75 the place. On the other hand, media representations are often partial and selective and can be involved in the production of particular ways of seeing places and the support of ‘reduced’ or stereotyped place images. In a globalizing culture in which seeing is believing (Urry, 2000), it is popular culture which exerts the powerful influence on the images and identities of tourist destinations through its representations.Their role in generating and increasing interest in a destination and creating its favourable image must be fully appreciated. Destination images created by popular media are cumulative, long enduring, and hence indelible. As previously mentioned, people tend to be motivated to visit a particular place by specific images, memories, associations, emotional commitment or attachment to the place and meanings (Schama, 1996), all of which can be created by their engagement in reading novels and seeing films or television dramas. Images, signs, symbols, fantasies, associations derived from popular culture are thus pre-eminent in constructing people’s perception of the world. In other words, those popular cultural forms of the media create mythical or imagined worlds that do not exist in reality but can be re-created or experienced through a visit to the associated locations (Riley, et al. 1998). The imaginative world existing in people’s minds, the meaning and the emotions engendered from the imaginative world are far more significant than reality. Since people are thus concerned with what stirs their imaginations and raises their interest (Herbert, 2001), there is an irresistible drive to visit those places to which they have a more emotional link. This is one of the reasons why people are increasingly engaged in media-induced tourism and popular culture is very good at turning people’s dreams and curiosity into action. Popular culture’s greatest impact on international tourism lies in its ability to create destination awareness, consciousness, and images leading to strong interests in the destination and actual travel to destinations in different parts of the globe. For those who were unable to tolerate a great deal of real novelty, popular culture provided familiarity with the UK, giving pleasure of seeing something already ‘known’ or ‘familiar’.The popular cultural forms of the media also provide a framework by which respondents get to know or experience the UK by offering representations of the UK. People are increasingly instructed to see places as portrayed or represented in the media and to seek popular enduring images of those places. Such destination images can shape what tourists see and what should be experienced at destinations. The degree to which perceived images of a particular destination have been influenced by popular culture is hard to ascertain. It can be argued, however, that popular cultural forms of the media can promote, confirm and reinforce particular images, views, and identities of destinations in a very powerful manner and have become an important source in influencing tourists’ destination choice. Although the findings presented in this article are specific to Japanese tourists visiting the UK, it is believed that the issue of popular media-induced tourism is relevant within a wider perspective and that the role played by  
76 tourist studies 6:1 popular cultural forms of the media in representing and constructing tourist places can be generalized, in particular in the globalized era of today. More and more people are being exposed to representations provided by ‘global’ popular culture and they are used to seeing places through the media. Popular cultural forms of the media can create tourism geographies in a strong sense, in particular a nation’s international identity, actively shaping interactions in and with places and offering images, symbols, dreams, fantasies, myths and associations into which people buy. Although the information and images of destinations are provided by a large media industry, it is popular culture, which exerts the most powerful influence on the images and identities of tourism places through its representations. 
 
references 文献
 
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