Tourism 
Management 
30 
(2009) 
194每207 



Contents 
lists 
available 
at 
ScienceDirect 


Tourism 
Management 


journal 
homepage: 
www.elsevier.com/locate/tourman 



Balamory 
revisited: 
An 
evaluation 
of 
the 
screen 
tourism 
destination-tourist 
nexus 


Joanne 
Connell 
a,*, 
Denny 
Meyer 
b 


a 
Department 
of 
Marketing, 
University 
of 
Stirling, 
Stirling 
FK9 
4LA, 
Scotland, 
UK 
b 
Faculty 
of 
Life 
and 
Social 
Sciences, 
Hawthorn 
Campus, 
Swinburne 
University 
of 
Technology, 
Melbourne, 
Australia 


article 
info 
abstract 


Article 
history: 


Received 
21 
February 
2008 
Accepted 
9 
June 
2008 


Keywords: 


Film 
Television 
Scotland 
Tourist 
experiences 
Visitors 
Children 
Film 
tourism 
Movie 


It 
is 
well-established 
that 
tourism 
induced 
by 
film 
and 
television 
(TV) 
(screen 
tourism) 
is 
a 
phenomenon 
of 
global 
significance, 
and 
a 
number 
of 
studies 
since 
the 
1990s 
have 
explored 
its 
impacts 
on 
specific 
destinations 
and 
communities. 
While 
some 
research 
provides 
insights 
into 
motivations 
of 
screen 
tourists, 
understanding 
of 
the 
experiences 
of 
screen 
tourists 
in 
film 
and 
TV 
locations 
remains 
an 
emerging 
area 
of 
inquiry. 
Consequently, 
the 
aim 
of 
this 
paper 
is 
to 
explore 
the 
interface 
between 
the 
screen 
tourist 
and 
the 
destination. 
The 
results 
of 
empirical 
research 
with 
screen 
tourists 
to 
the 
Isle 
of 
Mull 
(Scotland) 
to 
view 
the 
filming 
location 
for 
the 
children＊s 
TV 
show 
Balamory 
are 
discussed. 
First, 
the 
degree 
to 
which 
people 
are 
attracted 
to 
a 
location 
through 
film 
connections 
and 
the 
types 
of 
visits 
are 
explored. 
Second, 
the 
nature 
of 
visit 
experiences 
is 
analysed, 
allowing 
some 
consideration 
of 
emerging 
issues 
for 
both 
visitors 
and 
the 
destination. 
Third, 
the 
visitor 
propensity 
to 
return 
for 
a 
future 
visit 
is 
examined. 
The 
paper 
identifies 
that 
the 
lower 
the 
influence 
of 
Balamory 
for 
the 
visit, 
the 
higher 
the 
level 
of 
adult 
satisfaction, 
and 
that 
a 
return 
visit 
was 
more 
likely 
if 
visitors 
were 
satisfied 
with 
their 
trip, 
especially 
if 
Balamory 
was 
not 
the 
only 
reason 
for 
the 
visit. 
A 
structural 
equation 
modelling 
approach 
is 
adopted 
to 
explore 
some 
of 
the 
issues 
induced 
by 
an 
evaluation 
of 
visit 
experiences 
and 
the 
perceived 
likelihood 
of 
repeat 
visits, 
generating 
a 
range 
of 
widely 
applicable 
implications 
for 
screen 
tourism 
destination 
management 
and 
development. 


. 
2008 
Elsevier 
Ltd. 
All 
rights 
reserved. 
1. 
Introduction 
The 
impact 
of 
screen 
tourism 
is 
evident 
in 
destinations 
worldwide 
and 
a 
growing 
body 
of 
research 
(Beeton, 
2001; 
Chan, 
2007; 
Connell, 
2005a, 
2005b; 
Hudson 
& 
Ritchie, 
2006a, 
2006b; 
Iwashita, 
2006; 
Kim, 
Agrusa, 
Lee, 
& 
Chon, 
2007; 
OlsbergjSPI, 
2007; 
O＊Neill, 
Butts, 
& 
Busby, 
2005; 
Riley, 
Baker, 
& 
Van 
Doren, 
1998; 
Tooke 
and 
Baker, 
1996) 
seeks 
to 
estimate, 
validate 
and 
evaluate 
its 
effects. 
In 
the 
UK 
alone, 
screen 
tourism 
is 
estimated 
to 
be 
worth 
about 
㏒1.6 
billion, 
prompting 
about 
one 
in 
every 
five 
overseas 
visits 
to 
the 
country 
(Oxford 
Economic 
Forecasting, 
2005). 
While 
the 
emergence 
and 
growth 
of 
the 
phenomenon 
have 
generated 
investigations 
into 
place 
awareness, 
effects 
on 
visitor 
numbers 
and 
the 
consequences 
of 
visits 
to 
film-related 
destinations 
(see 
Beeton, 
2005; 
Mintel, 
2003 
for 
an 
overview), 
understanding 
of 
tourist 
experiences 
and 
perceptions 
of 
visiting 
places 
associated 
with 
film 
and 
television 
(TV) 
remain 
relatively 
undeveloped. 
The 
incidence 
of 
screen 
tourism 
has 
been 
recognised 
for 
some 
time, 
but 
direct 


* 
Corresponding 
author. 
Tel: 
t44 
(0) 
1786 
466452. 
E-mail 
address: 
j.j.connell@stir.ac.uk 
(J. 
Connell). 
0261-5177/$ 
每 
see 
front 
matter 
. 
2008 
Elsevier 
Ltd. 
All 
rights 
reserved. 
doi:10.1016/j.tourman.2008.06.001 



measurement 
of 
its 
impact 
has 
proved 
difficult 
(Busby 
and 
Klug, 
2001), 
particularly 
in 
terms 
of 
capturing 
the 
screen 
tourist 
in 
field 
studies. 
Consequently, 
meaningful 
insights 
into 
the 
consumer 
experience 
are 
limited, 
restricting 
both 
the 
advancement 
of 
screen 
tourism 
research 
and 
the 
development 
of 
principles 
to 
harness, 
manage 
and 
benefit 
from 
associated 
tourism 
activity 
in 
destinations. 
Indeed, 
for 
destination 
managers, 
identifying 
the 
extent 
to 
which 
visits 
are 
induced 
by 
film 
and 
TV 
viewing 
is 
imperative 
if 
the 
benefits 
of 
such 
visits 
are 
to 
be 
achieved 
and 
central 
to 
this 
is 
gaining 
an 
understanding 
of 
visit 
experiences 
with 
a 
view 
to 
managing 
and 
marketing 
destinations 
in 
an 
appropriate 
manner. 
In 
particular, 
a 
pertinent 
issue 
for 
tourism 
marketers 
is 
tapping 
the 
interest 
created 
by 
film 
to 
stimulate 
return 
visits 
in 
the 
longer-term, 
thereby 
generating 
potential 
for 
sustained 
place 
interest, 
association 
and 
activity 
in 
destinations. 


The 
generic 
term 
screen 
tourism 
is 
adopted 
in 
this 
paper 
to 
describe 
tourism 
that 
is 
generated 
by 
TV 
programmes, 
video, 
DVD 
as 
well 
as 
film, 
that 
is, 
small 
and 
big 
screen 
productions 
(but 
not 
TV 
programmes 
designed 
primarily 
to 
promote 
tourist 
destinations, 
such 
as 
holiday 
shows). 
The 
author 
considers 
the 
widespread 
use 
of 
the 
term 
film 
tourism 
(see 
Evans, 
1997) 
to 
somewhat 
downplay 
the 
importance 
of 
TV 
programmes 
in 
stimulating 
tourism 
and 
thus 



J. 
Connell, 
D. 
Meyer 
/ 
Tourism 
Management 
30 
(2009) 
194每207 
screen 
tourism 
is 
a 
neater 
way 
to 
define 
the 
phenomenon 
(see 
also 
OlsbergjSPI, 
2007). 
This 
paper 
contributes 
to 
the 
understanding 
of 
the 
subject 
by 
using 
a 
structural 
equation 
modelling 
approach 
to 
explore 
some 
of 
the 
issues 
induced 
by 
an 
evaluation 
of 
visit 
experiences 
and 
the 
perceived 
likelihood 
of 
repeat 
visits, 
generating 
a 
range 
of 
widely 
applicable 
implications 
for 
screen 
tourism 
destination 
management 
and 
development. 
Specifically, 
the 
paper 
utilises 
the 
findings 
of 
empirical 
research 
at 
a 
micro-level 
on 
screen 
tourists 
to 
explore 
three 
areas 
of 
enquiry. 
First, 
the 
degree 
to 
which 
people 
are 
attracted 
to 
a 
location 
through 
film 
connections 
and 
the 
type 
of 
visits 
that 
emerge 
from 
investigative 
study 
are 
explored. 
Second, 
the 
nature 
of 
visit 
experiences 
is 
analysed, 
allowing 
some 
consideration 
of 
emerging 
issues 
for 
both 
visitors 
and 
the 
destination. 
Third, 
the 
visitor 
propensity 
to 
return 
on 
a 
future 
visit 
is 
examined. 
The 
geographic 
focus 
of 
the 
research 
is 
the 
Isle 
of 
Mull, 
Scotland, 
the 
filming 
location 
for 
the 
children＊s 
TV 
show 
Balamory. 
The 
paper 
provides 
an 
update 
to 
an 
earlier 
paper 
published 
in 
Tourism 
Management 
(Connell, 
2005a), 
which 
discussed 
the 
perception 
of 
impacts 
by 
the 
tourism 
business 
community 
on 
the 
Island, 
indicating 
that 
the 
study 
of 
visitor 
perceptions 
would 
form 
a 
useful 
future 
area 
of 
inquiry 
in 
order 
to 
more 
fully 
understand 
the 
screen 
tourism 
phenomenon. 
Balamory, 
while 
a 
children＊s 
show, 
is 
a 
key 
production 
to 
study 
due 
to 
the 
unprecedented 
increase 
in 
visitor 
numbers 
that 
it 
created, 
which 
has 
now 
been 
acknowledged 
nationally 
in 
UK 
Film 
Council 
sponsored 
research 
(OlsbergjSPI, 
2007). 


2. 
A 
developing 
research 
agenda 
By 
means 
of 
a 
brief 
introduction 
to 
the 
research 
context 
of 
screen 
tourism, 
it 
is 
apposite 
to 
highlight 
the 
major 
themes 
within 
the 
tourism 
research 
literature, 
which 
demonstrate 
the 
significance 
of 
screen 
tourism 
and 
the 
need 
to 
recognise 
the 
implications 
of 
associated 
activities. 
Studies 
of 
the 
relationships 
between 
film, 
TV 
and 
tourism 
are 
relatively 
new, 
and 
in 
development 
mainly 
since 
the 
early 
1990s 
given 
the 
growing 
recognition 
of 
screen 
tourism 
as 
an 
identifiable 
phenomenon. 
The 
major 
themes 
are 
as 
follows: 


2.1. 
Identification 
of 
screen 
tourism 
activity 
The 
earliest 
screen 
tourism 
studies 
(see 
Butts, 
1992; 
Riley 
& 
Van 
Doren,1992; 
Rileyet 
al.,1998) 
established 
the 
existence 
of 
this 
form 
of 
tourism, 
highlighted 
relevant 
issues 
and 
initiated 
further 
research. 
More 
recent 
research 
highlights 
the 
occurrence 
of 
screen 
tourism 
through 
case 
examples 
throughout 
the 
world 
(Beeton, 
2005; 
Mintel, 
2003). 
Initially, 
most 
screen 
tourism 
research 
focused 
on 
activity 
in 
USA, 
UK, 
New 
Zealand 
and 
Australia, 
although 
research 
activity 
has 
widened 
to 
mainland 
Europe 
and 
Asia, 
reflecting 
the 
spread 
of 
the 
phenomenon. 


2.2. 
Impacts 
of 
screen 
tourism 
on 
host 
destinations 
The 
emphasis 
of 
a 
great 
deal 
of 
screen 
tourism 
research 
to 
date 
lies 
within 
the 
cluster 
of 
research 
focusing 
on 
destination 
impacts. 
Central 
to 
this 
strand 
is 
the 
principle 
of 
managing 
destination 
impacts 
to 
gain 
maximum 
economic 
benefit 
while 
minimising 
cultural 
and 
environmental 
damage, 
community 
disturbance, 
disruption 
of 
longer-term 
tourism 
products 
and 
markets, 
and 
resident 
well-being 
(see 
Beeton, 
2005, 
2004, 
2001; 
Connell, 
2005a, 
2005b; 
Croy 
and 
Walker, 
2003; 
Hudson 
& 
Ritchie, 
2006a; 
Mordue, 
2001; 
O＊Neill 
et 
al., 
2005; 
Riley 
et 
al., 
1998; 
Tooke 
and 
Baker, 
1996). 
Much 
of 
this 
work 
relates 
to 
specific 
case 
studies. 


2.3. 
Screen 
tourism, 
marketing 
and 
destination 
image 
formation 
A 
number 
of 
studies 
highlight 
applied 
approaches 
to 
destination 
marketing 
to 
induce 
economic 
benefits 
through 
film 
and 
TV 
exposure 
(Hudson 
& 
Ritchie, 
2006a, 
2006b), 
revealed 
particularly 
in 
the 
example 
of 
the 
New 
Zealand 
Government＊s 
vigorous 
promotion 
and 
development 
of 
Lord 
of 
the 
Rings 
themes 
and 
activities 
(Carl, 
Kindon, 
& 
Smith, 
2007; 
Jones 
& 
Smith, 
2005; 
Tzanelli, 
2004). 
Related 
to 
this 
strand 
is 
the 
idea 
of 
image 
formation 
and 
propensity 
to 
visit 
through 
viewing 
places 
on-screen 
(Iwashita, 
2006; 
Kim 
& 
Richardson, 
2003; 
Larsen 
& 
George, 
2006; 
Warnick 
et 
al., 
2005). 


2.4. 
The 
characteristics 
and 
motivations 
of 
screen 
tourists 
While 
a 
few 
studies 
focus 
on 
screen 
tourists, 
the 
area 
remains 
substantially 
unexplored 
in 
the 
academic 
literature 
compared 
with 
destination 
impact 
studies. 
Busby 
and 
Klug＊s 
(2001) 
and 
Beeton＊s 
(2001) 
surveys 
derive 
the 
characteristics 
of 
screen 
tourists 
in 
two 
screen 
destinations, 
while 
Macionis 
(2004), 
Singh 
and 
Best 
(2004), 
Busby 
and 
O＊Neill 
(2006) 
and 
Chan 
(2007) 
develop 
the 
field 
by 
examining 
motivations. 


2.5. 
The 
experiences 
of 
screen 
tourists 
More 
recent 
studies 
by 
Kim 
et 
al. 
(2007) 
and 
Carl 
et 
al. 
(2007) 
have 
examined 
tourist 
experiences, 
but 
this 
remains 
an 
emerging 
area 
of 
work 
that 
would 
benefit 
from 
further 
empirical 
studies 
that 
delineate, 
illustrate 
and 
evaluate 
the 
nature 
of 
screen 
tourism 
and 
the 
implications 
for 
destinations. 
It 
is 
to 
this 
relatively 
uncharted 
area 
that 
this 
paper 
is 
directed. 
It 
aims 
to 
progress 
understanding 
of 
the 
appeal 
of 
screen 
tourism 
destinations, 
the 
experience 
of 
visiting, 
the 
likelihood 
of 
return 
visits 
and 
the 
implications 
for 
tourism 
destination 
marketing 
and 
management. 
Prior 
to 
discussion 
of 
empirical 
work, 
a 
review 
of 
literature 
and 
applied 
research 
relating 
to 
these 
subjects 
of 
enquiry 
is 
presented. 


2.6. 
The 
tourism 
appeal 
of 
screen 
destinations 
As 
much 
of 
the 
literature 
recognises, 
capitalising 
on 
the 
positive 
impacts 
of 
screen 
tourism 
can 
assist 
in 
the 
strategic 
development 
of 
tourism 
activity 
in 
destinations 
by 
supplementing 
the 
product 
portfolio, 
increasing 
tourist 
awareness 
and 
appeal 
of 
the 
destination, 
and 
in 
turn 
contributing 
to 
the 
viability 
of 
tourism, 
a 
concept 
that 
has 
been 
recognised 
for 
some 
time 
(see 
Butler, 
1990; 
Croy 
and 
Walker, 
2003; 
Hornaday, 
1994; 
Riley 
and 
Van 
Doren, 
1992) 
and 
well-established 
in 
research 
literature 
(see 
e.g. 
Beeton, 
2005; 
Mintel, 
2003; 
OlsbergjSPI, 
2007; 
Riley 
et 
al., 
1998). 
Film 
and 
TV 
scenes 
and 
images 
have 
the 
potential 
to 
endure 
for 
many 
years, 
creating 
a 
powerful 
and 
alluring 
destination 
product 
or 
experience 
(Morgan 
& 
Pritchard, 
1998), 
although 
it 
is 
the 
interplay 
of 
landscape 
qualities 
and 
icons, 
storylines 
and 
characters, 
and 
the 
extent 
to 
which 
locations 
act 
as 
a 
significant 
feature 
in 
filming 
that 
is 
likely 
to 
induce 
visits 
(Riley 
and 
Van 
Doren, 
1992; 
Riley 
et 
al., 
1998). 
In 
this 
respect, 
screen-induced 
tourism 
is 
only 
likely 
to 
follow 
where 
locations 
are 
effectively 
transcribed 
from 
film 
to 
reality 
and 
where 
landscape, 
place 
and 
emotional 
associations 
are 
strong 
(Escher 
and 
Zimmerman, 
2001; 
OlsbergjSPI, 
2007). 


There 
are 
many 
examples 
where 
filming 
took 
place 
in 
substitute 
locations 
but 
still 
stimulated 
tourism 
in 
the 
places 
that 
were 
intended 
to 
be 
portrayed 
(e.g. 
the 
film 
Braveheart 
(1995) 
caused 
a 
tourism 
boom 
in 
Scotland 
due 
to 
its 
depiction 
of 
William 
Wallace 
and 
the 
fight 
for 
Scottish 
independence, 
but 
was 
filmed 
mostly 
in 
Ireland). 
In 
this 
way, 
a 
destination 
becomes 
socially 
constructed, 
in 
this 
case 
by 
film-makers, 
as 
authentically 
somewhere 
else 
(see 



J. 
Connell, 
D. 
Meyer 
/ 
Tourism 
Management 
30 
(2009) 
194每207 
Wang, 
1999 
for 
a 
discussion 
on 
constructive 
authenticity). 
This 
construct 
suggests 
that 
real 
place 
settings 
can 
be 
confused 
with 
每 
and 
even 
less 
important 
to 
tourists 
than 
每 
imagined 
ones, 
the 
central 
tenet 
of 
Eco＊s 
(1986) 
hyperreality 
concept 
as 
applied 
to 
screen 
tourism. 
Schwartz 
(2004) 
refers 
to 
the 
manipulation 
in 
filmmaking 
as 
a 
transforming 
viewer 
consciousness, 
creating 
＆＆movieawakened 
sensibilities＊＊ 
which 
the 
tourist 
industry 
readily 
takes 
advantage 
of 
(Schwartz, 
2004: 
344). 
As 
such, 
tourists 
are 
not 
attracted 
to 
experience 
the 
reality 
of 
the 
place, 
but 
to 
consume 
a 
mythology 
and 
find 
personal 
meaning 
at 
the 
interface 
of 
emotions, 
story 
and 
setting, 
where 
the 
boundary 
between 
reality 
and 
fantasy 
is 
indistinguishable 
(Schofield, 
1996). 
Conversely, 
fans 
of 
cult 
film 
and 
TV 
tend 
to 
undertake 
inordinate 
amounts 
of 
research 
to 
seek 
out 
precise 
film 
locations, 
some 
of 
which 
may 
be 
＆underground＊, 
i.e. 
not 
promoted 
or 
commercialised 
(Hills, 
2002). 


Yet, 
as 
Doyle 
(2003) 
comments, 
screen 
tourism 
is 
generally 
not 
on 
the 
agenda 
when 
programmes 
are 
made, 
and 
essentially 
an 
incidental 
form 
of 
tourism 
(or 
accidental 
as 
Beeton, 
2004 
describes). 
However, 
to 
capitalise 
on 
screen 
links, 
destination 
marketing 
organisations 
occasionally 
plan 
and 
execute 
direct 
campaigns 
to 
promote 
movie 
locations 
and 
themes 
with 
a 
view 
to 
stimulating 
visits 
(e.g. 
VisitScotland＊s 
㏒1.3m 
European 
campaign 
in 
collaboration 
with 
Sony 
Pictures 
to 
promote 
Da 
Vinci 
Code 
locations, 
and 
the 
notable 
international 
marketing 
campaign 
to 
stimulate 
visits 
to 
the 
USA 
in 
2004 
devised 
by 
the 
Visit 
America 
Alliance 
using 
movie 
locations 
with 
the 
catchline 
＆you＊ve 
seen 
the 
movies, 
now 
visit 
the 
set＊). 
The 
existence 
of 
dedicated 
units 
in 
national 
tourism 
organisations, 
local 
authorities 
and 
local 
tourism 
agencies 
to 
facilitate 
both 
filming 
and 
screen 
tourism 
is 
testament 
to 
the 
importance 
placed 
on 
the 
power 
of 
film 
and 
TV 
in 
generating 
visits 
to 
locations. 


2.7. 
The 
experiences 
of 
screen 
tourists 
There 
is 
a 
gap 
in 
the 
research 
literature 
with 
regard 
to 
the 
on-
site 
experiences 
of 
screen 
tourists 
and 
consequently 
there 
is 
little 
understanding 
of 
how 
screen 
tourists 
perceive, 
interact 
and 
relate 
to 
the 
destination. 
Through 
Macionis 
(2004), 
Singh 
and 
Best 
(2004) 
and 
Busby 
and 
O＊Neill＊s 
(2006) 
small-scale 
study 
of 
Cephallonia 
in 
the 
wake 
of 
Captain 
Corelli＊s 
Mandolin, 
some 
progress 
has 
been 
made 
in 
terms 
of 
understanding 
motivation, 
but 
further 
research 
is 
needed 
to 
understand 
screen 
tourism 
experiences 
in 
destinations. 
A 
study 
focusing 
on 
participants 
on 
Lord 
of 
the 
Rings 
(LOTR) 
tours 
in 
New 
Zealand 
identified 
that 
hyperreality 
played 
an 
important 
role 
in 
screen 
tourist 
satisfaction, 
and 
that 
the 
higher 
the 
degree 
of 
involvement 
and 
consumption, 
the 
more 
enhanced 
the 
tourist 
experience 
(Carl 
et 
al., 
2007). 
The 
findings 
of 
this 
LOTR 
study 
provide 
a 
useful 
basis 
on 
which 
to 
test 
this 
idea 
in 
other 
contexts, 
particular 
where 
no 
direct 
screen 
products 
or 
services 
have 
been 
developed 
to 
capitalise 
on 
screen 
tourism. 
Similarly, 
Couldry＊s 
work 
on 
Coronation 
Street 
(1998, 
2005) 
provides 
useful 
insights 
but 
focuses 
on 
visits 
to 
a 
simulated 
film 
set. 
What 
the 
research 
in 
this 
paper 
is 
concerned 
with 
is 
the 
experiences 
of 
visitors 
to 
a 
real 
place 
that 
was 
used 
as 
the 
backdrop 
to 
a 
TV 
programme, 
where 
there 
are 
no 
commercial 
tours 
or 
screen-related 
services 
on 
offer. 
Busby 
and 
O＊Neill 
(2006) 
provide 
some 
limited 
insights, 
highlighting 
that 
more 
promotion 
of 
Corelli 
themes 
was 
considered 
appropriate 
by 
tourists 
visiting 
the 
region 
for 
the 
first 
time. 


A 
further 
issue 
is 
probing 
the 
extent 
to 
which 
screen 
tourists 
are 
drawn 
to 
a 
place 
just 
to 
see 
a 
filming 
location. 
Macionis 
and 
Sparks 
(2006) 
state 
that 
most 
screen 
tourists 
are 
incidental 
(i.e. 
just 
happen 
to 
be 
at 
the 
destination) 
but 
increasing 
evidence, 
especially 
from 
UK 
research 
(see 
OlsbergjSPI, 
2007), 
implies 
that 
huge 
increases 
in 
visitors 
correspond 
with 
film 
and 
TV 
showcasing, 
indicating 
that 
the 
importance 
of 
screen 
tourism 
as 
a 
drawcard 
should 
not 
be 
underestimated. 


2.8. 
Screen 
tourism 
and 
the 
longer-term: 
generating 
repeat 
visits 
Critics 
of 
screen 
tourism, 
as 
a 
means 
of 
sustaining 
tourism 
in 
destinations, 
point 
to 
the 
limited 
duration 
of 
interest 
in 
film, 
TV 
and 
related 
sites 
as 
a 
disadvantage 
in 
strategic 
planning. 
Indeed, 
Riley 
and 
Van 
Doren 
(1992), 
using 
Ritchie＊s 
definition 
of 
a 
hallmark 
event, 
claim 
destination-based 
screen 
tourism 
to 
be 
of 
limited 
duration, 
rather 
like 
the 
tourism 
attraction 
life-cycle 
(see 
Lennon, 
2001). 
Yet, 
as 
Beeton 
(2005) 
highlights, 
screen 
tourism 
is 
more 
appropriately 
defined 
as 
a 
pilgrimage 
that 
displays 
an 
element 
of 
longevity, 
particularly 
in 
the 
case 
of 
televised 
drama. 
Indeed, 
while 
film 
(specifically 
film 
rather 
than 
TV) 
tourism 
activity 
tends 
to 
reach 
peak 
interest 
following 
the 
launch 
of 
a 
film, 
the 
enduring 
qualities 
of 
some 
film 
and 
TV 
outputs 
often 
draw 
visitors 
for 
many 
years 
post-launch 
(Riley 
et 
al., 
1998) 
or 
termination 
of 
TV 
series. 
A 
number 
of 
examples 
demonstrate 
the 
longevity 
of 
screen-induced 
tourism, 
although 
much 
evidence 
remains 
anecdotal: 
for 
example: 
the 
＆＆scores 
of 
tourists＊＊ 
(see 
Straziuso, 
2004) 
that 
seek 
out 
the 
steps 
of 
Philadelphia 
Art 
Museum 
to 
run 
up 
them 
as 
Sylvester 
Stallone 
did 
in 
the 
1976 
movie 
Rocky; 
and 
the 
Hollywood 
musical 
The 
Sound 
of 
Music 
(1965), 
filmed 
in 
and 
around 
Salzburg, 
still 
attracts 
tourists 
particularly 
from 
USA 
where 
the 
film 
is 
shown 
frequently 
on 
TV 
(East 
& 
Luger, 
2002). 
Corroborating 
data 
illustrates 
current 
activities 
associated 
with 
UK 
film 
and 
TV 
that 
in 
some 
cases 
is 
inspired 
by 
productions 
first 
screened 
more 
than 
40 
years 
ago 
(see 
Table 
1). 


Interestingly, 
many 
of 
these 
appear 
to 
be 
＆cult＊ 
offerings 
(i.e. 
popular 
within 
a 
self-identified 
grouping 
of 
dedicated 
fans 
to 
whom 
a 
particular 
theme 
appeals), 
where 
the 
initial 
fan 
base 
has 
been 
supplemented 
by 
new 
viewers 
through 
TV 
repeats 
and 
release 
of 
pre-recorded 
video 
and 
DVD 
products. 
Arguably, 
a 
long-
running 
TV 
series 
is 
more 
likely 
to 
sustain 
interest, 
given 
the 
likelihood 
of 
viewer 
interest 
in 
place, 
stories 
and 
characters 
and 
the 
opportunities 
afforded 
by 
long-term 
association 
for 
destination 
marketers 
in 
product 
placement 
or 
for 
studio 
tours 
(see 
e.g. 
Couldry＊s, 
1998 
analysis 
of 
the 
British 
continuing 
drama 
Coronation 
Street). 
For 
destinations, 
harnessing 
long-term 
associations 
through 
attention 
to 
the 
visit 
experience, 
visitor 
satisfaction 
and 
creating 
sustained 
appeal, 
thereby 
generating 
repeat 
visits 
from 
an 
initially 
film-induced 
visit, 
presents 
opportunities 
and 
challenges, 
as 
indicated 
in 
the 
literature 
on 
screen 
tourism 
destination 
impacts. 
This 
is 
particularly 
the 
case 
given 
that 
like 
literary-induced 
tourists, 
to 
whom 
screen 
tourists 
have 
been 
likened 
(Beeton, 
2005), 
visitors 
tend 
to 
be 
visiting 
the 
location 
for 
the 
first 
time 
and 
usually 
mirror 
the 
reader 
profile 
(Pocock, 
1992) 
or, 
in 
the 
case 
of 
screen 
tourism, 
＆viewer＊ 
profile. 
Accordingly, 
grasping 
first-time 
visits 
and 
transforming 
these 
into 
repeat 
visits 
will 
create 
a 
legacy 
of 
screen 
tourism. 


The 
literature 
on 
repeat 
visiting 
is 
even 
less 
well-developed 
than 
that 
of 
screen 
tourism, 
although 
within 
the 
field 
of 
marketing 
it 
is 
well-established 
that 
maintaining 
a 
long-term 
relationship 
with 
customers 
achieves 
competitive 
advantage 
and 
reduces 
the 
cost 
of 
attracting 
new 
custom 
(Jobber, 
2006; 
Kotler 
& 
Armstrong, 
2007). 
According 
to 
this 
approach, 
the 
intention 
and 
willingness 
of 
customers 
to 
repeat 
purchase 
depend 
upon 
the 
level 
of 
their 
satisfaction 
with 
the 
product 
or 
service, 
where 
if 
they 
are 
satisfied 
they 
will 
be 
more 
likely 
to 
purchase 
again. 
In 
a 
tourism 
context, 
long-
range 
planning 
and 
generating 
customer 
satisfaction 
should 
be 
the 
two 
major 
objectives 
of 
tourism 
businesses 
and 
destinations 
in 
maintaining 
competitive 
advantage, 
the 
key 
element 
of 
destination 
management 
and 
marketing 
strategy 
(Ritchie 
& 
Crouch, 
2003). 
While 
visitor 
satisfaction 
is 
a 
highly 
complex 
subject 
(Ryan, 
2002) 
that 
can 
be 
affected 
by 
the 
interplay 
of 
internal 
and 
external 
factors, 
Kozak 
(2001) 
suggests 
that 
the 
overall 
level 
of 
visitor 
satisfaction 
has 
the 
greatest 
impact 
on 
the 
intention 
to 
revisit 
the 
same 
destination, 
indicating 
that 
experience 
with 
a 
particular 
destination 
could 
stimulate 
future 
behaviour 
and 
repeat 
visits. 
Gitelson 
and 



J. 
Connell, 
D. 
Meyer 
/ 
Tourism 
Management 
30 
(2009) 
194每207 
197 
Table 
1 
Long-term 
screen 
associations 
and 
visitor 
activity 
in 
the 
UK 
Location 
Title 
Type 
Year 
of 
first 
release 
Current 
activities 
Doune 
Castle, 
Central 
Scotland 
Monty 
Python 
and 
the 
Holy 
Grail 
Film 
(but 
associated 
with 
comedy 
TV 
series 
Monty 
Python＊s 
Flying 
Circus) 
1975 
Film 
fans 
from 
all 
over 
the 
world 
contribute 
about 
one-third 
of 
visitors 
to 
Doune 
Castle 
every 
year 
(2006 
visitor 
numbers 
35,401). 
An 
annual 
themed 
event 
is 
held 
every 
September 
for 
film 
fans 
(since 
2004). 
The 
growth 
in 
visitor 
numbers 
to 
Doune 
Castle 
2005每2006 
was 
29.2%, 
compared 
with 
2.1% 
growth 
in 
visits 
to 
all 
castles 
in 
Scotland.a 
Portmeirion, 
North 
Wales 
The 
Prisoner 
Cult 
TV 
Series, 
17 
episodes 
1967 
About 
10% 
of 
annual 
visitor 
numbers 
(250,000) 
are 
film 
fans. 
Shop 
in 
village 
sells 
Prisoner 
themed 
gifts. 
Annual 
convention 
held 
since 
1978 
for 
members 
of 
the 
Prisoner 
Appreciation 
Society 
(1000 
members 
globally). 
Thirsk, 
North 
Yorkshire 
All 
Creatures 
Great 
and 
Small 
Two 
feature 
films 
based 
on 
the 
James 
Heriot 
novels 
1974每1975 
Thirsk 
is 
home 
to 
The 
World 
of 
James 
Herriot, 
a 
visitor 
attraction 
based 
at 
the 
home 
of 
the 
Prime 
time 
Sunday 
night 
TV 
Series 
1978每1990 
infamous 
real-life 
vet, 
attracting 
about 
45,000 
visitors 
per 
year. 
The 
centre 
also 
portrays 
sets 
from 
the 
TV 
filming. 
Kircudbright, 
South 
West 
Scotland 
The 
Wicker 
Man 
Film 
(cult 
horror/thriller) 
1972 
Since 
2002, 
an 
annual 
weekend 
festival 
based 
loosely 
on 
the 
film 
has 
been 
held 
in 
July. 
＆The 
Wicker 
Man 
Festival＊ 
offers 
cult 
music, 
dance 
and 
art. 
In 
2006, 
16,000 
attendees 
were 
recorded, 
from 
a 
baseline 
of 
5000 
in 
2002. 


a 


Data 
extracted 
from 
the 
2006 
Visitor 
Attraction 
Monitor 
(VisitScotland). 


Crompton 
(1984) 
identified 
five 
factors 
that 
influenced 
repeat 
visitation, 
including: 
reduced 
risk 
of 
an 
unsatisfactory 
experience; 
likelihood 
of 
mixing 
with 
＆＆their 
kind 
of 
people＊＊; 
re-experiencing 
an 
emotional 
childhood 
attachment 
to 
a 
location; 
engaging 
in 
aspects 
of 
the 
destination 
which 
had 
been 
omitted 
on 
a 
previous 
visit; 
and 
to 
introduce 
others 
to 
a 
location 
previously 
enjoyed. 
These 
factors 
should 
be 
considered 
in 
addition 
to 
the 
tourist 
simply 
wishing 
to 
re-experience 
an 
enjoyable 
location 
or 
memory. 
However, 
Tak-Kee 
and 
Wan 
(2006) 
argue 
that 
tourists＊ 
overall 
satisfaction 
level 
is 
an 
insignificant 
predictor 
of 
repeat 
visiting, 
with 
variables 
such 
as 
climate, 
attractions, 
and 
facilities 
of 
greater 
significance. 
Nevertheless, 
more 
empirical 
knowledge 
of 
the 
determinants 
of 
repeat 
visiting 
is 
likely 
to 
be 
useful 
to 
policymakers 
attempting 
to 
develop, 
improve 
and 
secure 
the 
economic 
benefits 
of 
repeat 
visiting 
(Darnell 
& 
Johnson, 
2001) 
and 
tourist 
loyalty 
(Petrick, 
2004) 
to 
screen 
destinations. 


The 
legacy 
of 
screen 
tourism 
(see 
Beeton, 
2004), 
as 
a 
product 
that 
can 
clearly 
stimulate 
visitor 
activity 
in 
the 
short-term, 
could 
be 
to 
sustain 
tourism 
in 
the 
long-term 
rather 
than 
being 
reliant 
on 
new 
tourists, 
capturing 
the 
imagination 
and 
loyalty 
of 
first-time 
screen 
visitors 
to 
a 
region 
and 
stimulating 
repeat 
visits, 
perhaps 
to 
discover 
more 
about 
a 
destination 
other 
than 
its 
screen 
connections, 
can 
assist 
in 
the 
strategic 
tourism 
development 
process, 
if 
carefully 
managed 
in 
suitable 
destinations. 
This 
aspect 
now 
forms 
part 
of 
an 
analysis 
of 
screen 
tourist 
perspectives 
in 
a 
Scottish 
case 
study. 


3. 
A 
screen 
tourism 
destination: 
Scotland, 
the 
Isle 
of 
Mull 
and 
Balamory 
Scotland 
is 
well-established 
as 
a 
screen 
tourism 
destination 
and 
the 
national 
tourism 
organisation, 
VisitScotland, 
has 
long 
acknowledged 
its 
importance 
(see 
Hydra 
Associates, 
1997). 
Scotland 
provides 
a 
diverse 
range 
of 
locations 
that 
form 
a 
backdrop 
to 
small 
and 
big 
screen 
productions 
(Scottish 
Screen, 
2007a) 
and 
on 
average, 
12 
large 
scale 
films 
and 
eight 
TV 
dramas 
are 
filmed 
each 
year 
in 
the 
country 
(Scottish 
Screen, 
2007b). 
Scottish 
locations 
are 
famously 
portrayed 
in 
a 
range 
of 
films, 
from 
the 
stunning 
sands 
of 
St. 
Andrews 
as 
in 
Chariots 
of 
Fire 
(1981), 
to 
the 
Highland 
landscapes 


of 
The 
Water 
Horse 
(2007) 
and 
the 
mean 
streets 
of 
pre-regenerated 
Leith 
in 
Trainspotting 
(1996). 
Indeed, 
Local 
Hero 
(1983) 
filmed 
in 
Pennan 
(Aberdeenshire) 
and 
Morar 
(West 
Highlands) 
was 
voted 
by 
film 
critics 
and 
writers 
in 
2005 
as 
creating 
the 
strongest 
sense 
of 
place 
and 
the 
most 
atmospheric 
use 
of 
a 
British 
location 
(Film 
Distributor＊s 
Association, 
2005). 
Principally, 
international 
screen 
tourist 
interest 
in 
Scotland 
was 
created 
in 
the 
1990s 
by 
a 
cluster 
of 
films 
and 
TV 
series 
related 
to 
Scotland, 
including 
two 
blockbuster 
movies 
Braveheart 
(1995) 
(see 
Edensor, 
2005) 
and 
Rob 
Roy 
(1995), 
and 
two 
TV 
series 
Hamish 
Macbeth 
(1995每1997) 
and 
Monarch 
of 
the 
Glen 
(2000每2005), 
all 
of 
which 
utilise 
Scottish 
tradition, 
mythology 
and 
landscape 
to 
varying 
degrees. 
Filming 
of 
major 
scenes 
in, 
for 
example, 
Four 
Weddings 
and 
a 
Funeral 
(1994), 
Mrs 
Brown 
(1997), 
The 
Queen 
(2006), 
The 
Da 
Vinci 
Code 
(2006), 
Harry 
Potter 
and 
the 
Order 
of 
the 
Phoenix 
(2007) 
and 
Doomsday 
(2008) 
have 
further 
validated 
Scotland 
as 
an 
international 
screen 
location. 
One 
of 
the 
most 
visited 
screen 
destinations 
in 
recent 
years 
has 
been 
the 
Isle 
of 
Mull, 
with 
the 
huge 
popularity 
of 
the 
pre-school 
children＊s 
TV 
programme 
Balamory 
(BBC 
Scotland 
filmed, 
2002每2005). 


The 
Isle 
of 
Mull 
(pop. 
approx. 
3000) 
is 
situated 
on 
the 
west 
coast 
of 
Scotland 
(see 
Fig. 
1) 
and 
renowned 
for 
its 
natural 
beauty, 
wildlife 
(see 
e.g. 
Woods-Ballard 
et 
al., 
2003), 
dramatic 
landscapes, 
unspoilt 
coastlines 
and 
castles. 


The 
Island, 
which 
is 
only 
accessible 
by 
ferry, 
accommodates 
around 
400,000 
visits 
per 
year. 
It 
has 
played 
host 
to 
the 
filming 
of 
several 
movies 
(or 
movie 
scenes) 
including 
Entrapment 
(1999), 
I 
Know 
Where 
I 
Am 
Going 
(1945) 
and 
When 
Eight 
Bells 
Toll 
(1971) 
(Bruce, 
1996; 
Pendreigh, 
2002), 
although 
was 
not 
a 
major 
screen 
destination 
until 
2003. 
Since 
then, 
the 
tiny 
capital 
town 
Tobermory, 
famed 
for 
its 
iconic 
painted 
harbourside 
houses 
often 
depicted 
in 
Scottish 
tourism 
promotional 
imagery, 
has 
become 
a 
screen 
tourism 
highlight 
for 
those 
seeking 
the 
real 
Balamory. 
The 
programme 
is 
filmed 
in 
the 
town 
using 
the 
exteriors 
of 
several 
painted 
houses 
which 
appear 
throughout 
the 
show, 
and 
in 
the 
opening 
and 
closing 
graphics. 
The 
houses 
are 
a 
prominent 
feature 
in 
each 
programme, 
immortalised 
in 
the 
theme 
song 
that 
includes 
the 
refrain 
＆＆which 
coloured 
house 
are 
we 
going 
to.?＊＊ 
Balamory 
is 
unique 
in 
several 
ways 
for 
Mull, 
for 
it 
is 
the 
only 
TV 
series 
filmed 
on 
the 
Island 
and 
the 
only 
production 
to 
create 
a 
mass 
tourist 
influx 
there. 
Viewing 



J. 
Connell, 
D. 
Meyer 
/ 
Tourism 
Management 
30 
(2009) 
194每207 
Fig. 
1. 
Location 
map 
of 
the 
Isle 
of 
Mull. 


figures 
in 
the 
UK 
were 
estimated 
at 
750,000 
per 
episode 
in 
2004 
(BBC 
Worldwide, 
2004) 
and 
many 
episodes 
are 
available 
on 
video 
and 
DVD 
as 
well 
as 
the 
BBC 
digital 
channel 
Cbeebies, 
extending 
and 
prolonging 
Tobermory＊s 
exposure 
to 
the 
audience 
well 
into 
the 
future. 
More 
recently, 
Balamory 
has 
been 
transmitted 
to 
a 
worldwide 
audience 
through 
BBC 
Prime. 


A 
curiosity 
to 
see 
the 
coloured 
houses 
and 
the 
filming 
location 
for 
the 
show 
quickly 
transformed 
Tobermory 
into 
a 
＆must-visit＊ 
destination 
for 
families 
with 
young 
children. 
The 
number 
of 
additional 
tourists 
to 
the 
island 
has 
risen 
by 
about 
150,000 
per 
year, 
and 
these 
extra 
visitors 
are 
predominantly 
families 
(Argyll, 
the 
Isles, 
Loch 
Lomond, 
Stirling 
and 
the 
Trossachs 
(AILLST) 
Tourist 
Board, 
2003). 
The 
＆Balamory 
effect＊ 
was 
greeted 
with 
both 
a 
positive 
and 
negative 
reception 
in 
the 
local 
community. 
Connell 
(2005a) 
reported 
that 
about 
50% 
of 
business 
across 
the 
Island, 
and 
75% 
in 
Tobermory, 
saw 
a 
rise 
in 
the 
number 
of 
tourists 
due 
to 
the 
desire 
to 
＆see 
Balamory＊. 
However, 
accommodation 
and 
transport 
providers 
experienced 
capacity 
related 
problems, 
and 
some 
tourism 
business 
operators 
expressed 
a 
number 
of 
concerns 
about 
the 
increases 
in 
the 
family 
market 
(Crilly, 
2003; 
Ross, 
2004). 
Anecdotal 
evidence 
claimed 
that 
tourist 
expectations 
were 
not 
always 
met, 
with 
no 
Balamory-based 
features 
or 
attractions 
apart 
from 
the 
exteriors 
of 
the 
coloured 
houses 
used 
in 
filming 
(which 
are 
private 
residences), 
and 
few 
child-oriented 
services 
(Kelbie, 
2005; 
Reid, 
2004; 
Seenan, 
2004). 
No 
consultation 
with 
stakeholders 
occurred 
prior 
to 
selecting 
the 
filming 
location, 
primarily 
because 
there 
was 
no 
prediction 
of 
the 
boost 
in 
visitor 
numbers. 
Consequently, 
the 
show＊s 
producers, 
along 
with 
the 
local 
community 
and 
tourism 
organisations, 
were 
taken 
by 
surprise 
at 
the 
show＊s 
success 
and 
the 
subsequent 
allure 
of 
Tobermory. 
The 
flood 
of 
visitors 
was 
even 
more 
astonishing 
given 
the 
initial 
absence 
of 
place 
promotion 
of 
the 
town 
as 
Balamory 
(Connell, 
2005b), 
and 
its 
relative 
remoteness. 
These 
issues 
and 
the 
business 
response 
to 
Balamory 
are 
discussed 
in-depth 
by 
Connell 
(2005a, 
2005b) 
but 
one 
of 
the 
problems 
is 
that 
there 
is 
no 
understanding 
(based 
on 
empirical 
data) 
of 
who 
visitors 
are 
and 
what 
experiences 
they 
have, 
thus 
the 
implications 
for 
planning 
and 
management 
of 
tourism 
for 
the 
benefit 
of 
host 
and 
guest 
are 
only 


partially 
explored 
in 
this 
case. 
An 
appreciation 
of 
visit 
characteristics 
and 
experiences 
is 
required 
to 
determine 
current 
issues 
and 
those 
relating 
to 
the 
longer-term 
development 
of 
screen 
tourism, 
given 
that 
the 
legacy 
of 
Balamory 
is 
likely 
to 
be 
the 
existence 
of 
a 
new 
generation 
of 
tourists 
brought 
up 
watching 
the 
show. 


Accordingly, 
the 
justification 
of 
an 
investigation 
to 
identify 
and 
evaluate 
visits 
to 
see 
the 
setting 
of 
the 
show 
is 
clear: 
to 
gain 
insights 
into 
visitor 
activity, 
perceptions 
and 
experiences 
which 
can 
assist 
in 
deriving 
indicators 
and 
actions 
for 
tourism 
management, 
marketing 
and 
development 
at 
the 
local 
level, 
while 
yielding 
more 
widely 
applicable 
principles. 
The 
paper 
now 
turns 
to 
the 
findings 
of 
an 
empirical 
study 
of 
visitors 
to 
Balamory. 


3.1. 
Research 
methods 
The 
primary 
aim 
of 
the 
research 
was 
to 
explore 
the 
responses 
of 
family 
groups, 
whose 
visit 
to 
the 
Isle 
of 
Mull 
incorporated 
a 
trip 
to 
see 
the 
real-life 
film 
location 
of 
Balamory, 
in 
relation 
to 
their 
visit 
experiences. 
The 
objectives 
of 
the 
research 
sought 
to 
identify 
the 
degree 
of 
influence 
of 
Balamory 
on 
a 
visit 
to 
the 
Isle 
of 
Mull, 
visit 
characteristics, 
visit 
experiences 
and 
the 
likelihood 
of 
a 
return 
visit 
being 
made. 
Central 
to 
this 
process 
was 
the 
identification 
and 
evaluation 
of 
the 
audience, 
thus 
a 
suitable 
research 
method 
was 
required. 


The 
main 
research 
tool 
was 
a 
three-page 
questionnaire 
administered 
to 
tourists 
on 
afternoon 
ferry 
crossings, 
to 
target 
those 
returning 
from 
a 
visit 
to 
the 
Island 
(i.e. 
Craignure-Oban 
as 
in 
Fig. 
1: 
a 
45-min 
journey). 
On 
embarkation, 
and 
when 
possible, 
in 
the 
embarkation 
queue, 
adults 
with 
young 
children 
(notionally 
6 
years 
old 
and 
under) 
were 
systematically 
approached 
to 
ascertain 
if 
a 
visit 
to 
＆Balamory＊ 
had 
formed 
part 
of 
the 
family 
visit 
to 
the 
Island. 
If 
so, 
one 
adult 
from 
each 
family 
group 
was 
asked 
to 
complete 
a 
questionnaire, 
a 
commonly 
used 
method 
in 
family-oriented 
research 
(Nickerson 
& 
Jurowski, 
2001), 
while 
three 
questions 
were 
directed 
at 
the 
respondent＊s 
child/children 
with 
permission 
(and 
where 
appropriate 
given 
age-related 
constraints 
on 
answering). 



J. 
Connell, 
D. 
Meyer 
/ 
Tourism 
Management 
30 
(2009) 
194每207 
The 
data 
collection 
period 
was 
set 
over 
six 
weeks 
in 
the 
summer 
peak 
season. 
Some 
195 
questionnaires 
were 
generated 
for 
analysis. 
The 
non-response 
rate 
was 
about 
30%, 
subject 
to 
changes 
in 
climate, 
with 
higher 
numbers 
of 
refusals 
on 
extremely 
hot 
or 
wet 
days 
when 
children 
required 
more 
attention 
(i.e. 
higher 
levels 
of 
antagonism) 
and 
better 
rates 
when 
the 
weather 
was 
more 
equable. 
No 
other 
patterns 
of 
non-response 
were 
noticeable, 
except 
that 
the 
small 
number 
of 
overseas 
families 
approached 
did 
not 
feel 
able 
to 
answer 
the 
survey. 
As 
a 
result, 
the 
survey 
was 
confined 
to 
domestic 
tourists, 
which 
is 
not 
viewed 
as 
a 
constraint 
as 
the 
televisation 
of 
Balamory 
overseas 
was 
limited 
at 
the 
time, 
and 
also 
reflects 
the 
visitor 
profile 
to 
Mull. 
The 
sample 
size 
is 
the 
same 
sample 
size 
as 
that 
achieved 
in 
the 
Mull 
Visitor 
Survey 
(Argyll 
and 
the 
Isles 
Enterprise, 
Argyll, 
the 
Isles, 
Loch 
Lomond, 
Stirling 
and 
the 
Trossachs 
Tourist 
Board, 
Argyll 
and 
Bute 
Council, 
Scottish 
Tourist 
Board 
and 
Highlands 
and 
Islands 
Enterprise, 
2000), 
and 
therefore 
judged 
as 
a 
suitable 
representation. 


The 
decision 
to 
undertake 
the 
survey 
on 
the 
ferry 
rather 
than 
in 
Tobermory 
was 
dominated 
by 
several 
factors, 
but 
mainly 
because 
capturing 
responses 
in 
the 
town 
would 
have 
been 
inefficient. 
The 
spatial 
configuration 
of 
the 
town 
meant 
that 
tourists 
were 
dispersed 
and 
there 
were 
no 
effective 
survey 
points 
at 
which 
to 
capture 
respondents. 
Second, 
it 
would 
have 
been 
irresponsible 
to 
ask 
for 
survey 
information 
from 
a 
carer 
with 
responsibility 
for 
children, 
given 
that 
there 
were 
few 
safe 
places 
to 
stop 
in 
Tobermory 
(recognising 
the 
dangers 
of 
combining 
excited 
children, 
narrow 
pavements, 
traffic 
and 
the 
harbourside). 
Third, 
when 
approaching 
tourists 
it 
might 
not 
be 
clear 
whether 
they 
have 
spent 
enough 
time 
in 
Tobermory 
to 
be 
able 
to 
answer 
the 
questions. 
Last, 
it 
would 
have 
been 
unfair 
to 
target 
tourists 
leaving 
Tobermory, 
who 
were 
often 
concerned 
about 
leaving 
on 
time 
to 
get 
a 
seat 
on 
a 
bus 
and 
to 
catch 
the 
ferry 
home. 
Undertaking 
the 
survey 
on-board 
the 
ferry 
offered 
solutions 
to 
these 
difficulties. 


Four 
key 
elements 
formed 
the 
structure 
of 
the 
questionnaire: 
first, 
gaining 
information 
on 
the 
tourist 
and 
the 
visit, 
including 
the 
degree 
to 
which 
Balamory 
was 
the 
main 
driver 
of 
the 
visit; 
second, 
an 
assessment 
of 
tourist 
behaviour 
and 
on-site 
activity; 
third, 
gauging 
the 
degree 
of 
satisfaction 
with 
the 
visit, 
exploring 
those 
aspects 
of 
the 
visit 
most 
liked 
and 
most 
disliked 
from 
the 
perspective 
of 
both 
the 
carer 
and 
the 
child. 
A 
final 
element 
focused 
on 
whether 
a 
return 
visit 
might 
be 
likely 
in 
the 
future 
based 
on 
this 
visit. 
A 
five-point 
Likert 
scale 
was 
employed 
to 
assess 
expectations 
prior 
to 
the 
visit, 
in 
conjunction 
with 
experiences 
gained 
on 
the 
trip, 
while 
likes 
and 
dislikes 
were 
gained 
through 
open 
questioning. 
The 
use 
of 
an 
open 
style 
question 
to 
gauge 
experiences 
dispensed 
with 
concern 
over 
potential 
researcher 
bias 
in 
deriving 
closed 
categories. 


A 
limitation 
of 
the 
survey 
is 
that 
it 
mainly, 
although 
not 
exclusively, 
captured 
foot 
passengers, 
due 
to 
embarkation 
and 
disembarkation 
logistics. 
However, 
this 
was 
not 
seen 
as 
an 
undue 
constraint, 
as 
observations 
and 
advice 
from 
the 
ferry 
operators 
revealed 
that 
most 
Balamory 
visitors 
were 
day 
visitors 
on 
foot 
rather 
than 
those 
using 
the 
car 
or 
coach. 
The 
research 
process 
did 
not 
allow 
for 
in-depth 
interactions 
with 
respondents 
given 
the 
limited 
amount 
of 
time 
available 
to 
interview 
passengers 
on 
the 
ferry. 


4. 
Discussion 
of 
findings 
Acknowledging 
the 
above 
limitations, 
findings 
are 
now 
explored 
in 
two 
dimensions. 
First, 
a 
descriptive 
analysis, 
using 
basic 
frequencies, 
cross-tabulations 
and 
chi-squared 
analysis 
where 
appropriate, 
reports 
on 
visit 
characteristics, 
the 
degree 
of 
importance 
of 
Balamory 
in 
stimulating 
the 
visit, 
visit 
experiences 
and 
degree 
of 
satisfaction/dissatisfaction 
associated 
with 
the 
visit. 
Following 
this, 
a 
structural 
equation 
model 
approach 
is 
developed 
and 
presented 


to 
explore 
relationships 
and 
meanings 
through 
multiple 
dimensions 
of 
visit 
characteristics, 
experiences 
and 
propensity 
to 
make 
a 
return 
visit. 


4.1. 
Types 
of 
visits 
to 
Balamory 
Analysis 
of 
the 
data 
indicates 
that 
96% 
of 
respondents 
were 
visiting 
Mull 
for 
the 
day, 
while 
81% 
of 
the 
sample 
was 
on 
holiday. 
Most 
day 
visitors 
had 
started 
their 
journey 
from 
within 
the 
Argyll 
and 
Bute 
area, 
with 
the 
greatest 
proportion 
(40%) 
from 
Oban, 
although 
16% 
had 
travelled 
some 
distance 
(80-120 
miles). 
Most 
of 
those 
travelling 
longer 
distances 
were 
on 
day 
trips 
from 
home, 
indicating 
a 
significant 
destination 
draw 
when 
one 
combines 
a 
car 
journey 
on 
the 
remote 
and 
twisting 
single-carriageways 
of 
the 
region 
with 
the 
demands 
of 
a 
young 
family. 
Further, 
those 
on 
a 
day 
trip 
from 
home 
were 
more 
likely 
to 
be 
visiting 
just 
to 
see 
the 
film 
location 
than 
those 
visiting 
from 
a 
holiday 
base 
other 
than 
Mull 
(46.4% 
compared 
with 
32.9% 
of 
visitors). 
Postal 
code 
analysis 
revealed 
that 
some 
34% 
of 
the 
sample 
lived 
in 
Scotland, 
with 
a 
concentration 
in 
the 
Glasgow 
area, 
the 
nearest 
large 
urban 
centre. 


In 
line 
with 
Pocock 
(1992), 
70% 
of 
visitors 
were 
first-time 
visitors 
to 
Mull. 
The 
dominant 
form 
of 
group 
composition 
was 
parents 
with 
children 
(67% 
of 
all 
respondents, 
with 
53% 
composed 
of 
two 
parents 
and 
children). 
Some 
91% 
of 
the 
sample 
was 
composed 
of 
groups 
with 
1每3 
children. 
The 
age 
profile 
of 
children 
in 
the 
Balamory 
survey 
clearly 
corresponded 
with 
the 
pre-school 
focus 
of 
＆Balamory＊, 
with 
41% 
of 
children 
aged 
3每5 
years, 
and 
67% 
aged 
2每6 
years. 
These 
findings 
provide 
evidence 
of 
the 
significant 
number 
of 
young 
and 
very 
young 
children 
travelling 
with 
their 
families 
to 
Mull 
to 
＆see 
Balamory＊ 
as 
reported 
by 
the 
Tourist 
Board 
(Dehany, 
2003 
personal 
communication). 


4.2. 
Establishing 
the 
degree 
of 
importance 
of 
Balamory 
in 
stimulating 
the 
visit 
Clearly 
portrayed 
by 
the 
survey 
findings 
was 
the 
desire 
to 
visit 
Tobermory 
for 
its 
role 
as 
Balamory, 
with 
some 
69% 
of 
the 
respondents 
stating 
that 
they 
would 
not 
have 
made 
their 
visit 
to 
Mull 
otherwise. 
Using 
Macionis＊s 
(2004) 
categorisation 
that 
identifies 
specific, 
general 
and 
serendipitous 
film 
tourists, 
the 
results 
indicate 
that 
Balamory 
attracts 
a 
large 
proportion 
of 
specific 
screen 
tourists, 
who 
actively 
seek 
out 
places 
portrayed 
on 
TV. 
This 
finding 
is 
quite 
startling 
given 
that 
there 
was 
little 
active 
promotion 
of 
Balamory 
at 
this 
time, 
but 
highlights 
the 
strong 
appeal 
of 
the 
images 
viewed 
on 
TV. 
An 
examination 
of 
the 
data 
relating 
to 
the 
extent 
to 
which 
Balamory 
was 
an 
attractor 
for 
the 
visit 
that 
day, 
＆seeing 
Balamory＊ 


(i.e. 
the 
film 
location, 
primarily 
the 
coloured 
houses) 
was 
the 
single 
most 
significant 
motive 
for 
visits, 
with 
34% 
of 
respondents 
visiting 
simply 
to 
＆see 
Balamory＊. 
A 
further 
36% 
of 
respondents 
visited 
to 
＆see 
Balamory 
and 
to 
explore 
Tobermory＊. 
Much 
fewer 
visits 
were 
＆general＊ 
(14.5%), 
made 
to 
＆see 
Balamory 
and 
other 
places 
on 
Mull＊, 
and 
＆serendipitous＊, 
where 
visitors 
went 
to 
Tobermory 
as 
part 
of 
a 
visit 
to 
see 
the 
island 
(14%). 
The 
data 
suggests 
the 
emergence 
of 
an 
additional 
category 
of 
visitor 
that 
supplements 
Macionis＊s 
(2004) 
spectrum, 
the 
＆elite＊ 
visitor, 
who 
is 
visiting 
purely 
to 
view 
the 
filming 
location 
with 
no 
other 
motive, 
while 
＆specific＊ 
visitors 
specifically 
travel 
to 
see 
the 
film 
location 
and 
explore 
the 
immediate 
vicinity 
while 
there. 
There 
is 
a 
clear 
differentiation 
between 
those 
visitors 
who 
are 
visiting 
Mull 
simply 
to 
see 
the 
filming 
location 
and 
those 
who, 
while 
Balamory 
is 
the 
primary 
motivator, 
want 
to 
visit 
the 
destination 
and 
see 
what 
it 
has 
to 
offer 
upon 
which 
the 
following 
discussion 
will 
elaborate. 
An 
evaluation 
of 
the 
data 
reveals 
several 
distinctive 
differences 
between 
＆elite＊ 
visits 
made 
＆just 
to 
see 
Balamory＊ 
and 
other 
types 
of 
visit, 
hinting 
at 
the 
existence 
of 
a 
typical 
Balamory-induced 
visitor/ 
visit. 
While 
Table 
2 
outlines 
some 
of 
the 
main 
characteristics 
of 



J. 
Connell, 
D. 
Meyer 
/ 
Tourism 
Management 
30 
(2009) 
194每207 
Table 
2 


Main 
characteristics 
of 
respondents 
who 
visited 
＆just 
to 
see 
Balamory＊ 
compared 
with 
other 
types 
of 
tourist 


Percentage 
of 
respondents 
Pearson 
chi-square 
value 
p-Value 
First 
time 
visit 
to 
Mull 
73.1 
1.017 
0.797 
On 
a 
day 
trip 
from 
home 
46.4 
10.528 
0.104 
Did 
not 
visit 
other 
places/attractions 
85.1 
57.228** 
0.000 
Visit 
more 
likely 
to 
be 
prompted 
by 
child 
74.6 
33.958** 
0.000 
Knew 
little 
about 
destination 
pre-visit 
40 
11.516 
0.242 
More 
likely 
to 
follow 
film 
location 
trail 
84.6 
6.192 
0.103 
Seeing 
coloured 
houses 
was 
highlight 
for 
kids 
92.3 
20.835* 
0.05 
Expected 
more 
Balamory-related 
things 
to 
do 
83.1 
18.476 
0.102 
Balamory 
theme 
not 
promoted 
enough 
10.8 
24.417** 
0.018 
Spent 
less 
time 
than 
expected 
at 
destination 
30.8 
7.184 
0.304 
More 
likely 
to 
buy 
Balamory 
merchandise 
84.6 
11.678** 
0.009 
Felt 
less 
welcome 
in 
Tobermory 
11.1 
18.989 
0.08 
Parent 
more 
likely 
to 
be 
disappointed 
with 
visit 
34.9 
10.639 
0.560 
Less 
likely 
to 
return 
in 
future 
55.2 
16.317 
0.177 


*p 
0.05, 
**p 
0.01. 


tourists, 
other 
differences 
between 
visits 
that 
were 
made 
＆just 
to 
see 
Balamory＊ 
compared 
with 
other 
types 
of 
visits 
that 
are 
noteworthy 
include 
the 
composition 
of 
groups 
and 
the 
perception 
of 
the 
visit. 
More 
visitors 
in 
this 
category 
were 
grandparents 
with 
children 
(15.3%), 
compared 
with 
7.4% 
when 
the 
visit 
to 
Balamory 
was 
more 
incidental. 
Elite 
tourist 
visits 
were 
more 
likely 
to 
be 
prompted 
by 
children 
rather 
than 
carer/parent. 
Due 
to 
the 
focus 
of 
the 
visit, 
these 
respondents 
were 
more 
likely 
than 
others 
to 
visit 
all 
the 
coloured 
houses 
(84.6% 
compared 
with 
61.5% 
of 
those 
who 
were 
visiting 
Balamory 
as 
part 
of 
a 
trip 
to 
see 
the 
Isle 
of 
Mull) 
and 
buy 
souvenirs 
(84.6% 
compared 
with 
50%), 
significant 
at 
the 
99% 
confidence 
level. 
Of 
all 
those 
concerned 
about 
the 
safety 
of 
children 
in 
the 
destination, 
by 
far 
the 
greatest 
level 
of 
concern 
was 
expressed 
by 
those 
visiting 
just 
to 
see 
Balamory. 
Similarly, 
of 
all 
those 
visitors 
disappointed 
with 
their 
visit, 
more 
than 
half 
were 
elite 
screen 
tourists. 


4.3. 
Pre-visit 
information 
search 
One 
of 
the 
problems 
of 
Balamory-related 
tourism 
as 
perceived 
by 
businesses 
on 
the 
island 
is 
that 
most 
of 
these 
tourists 
have 
little 
knowledge 
or 
idea 
about 
the 
geography 
of 
Mull 
and 
its 
limited 
infrastructure 
in 
terms 
of 
roads, 
accommodation 
and 
facilities 
(Connell, 
2005b). 
The 
survey 
indicated 
that 
a 
significant 
number 
of 
people 
had 
gained 
some 
information 
prior 
to 
visiting, 
but 
31% 
did 
not 
know 
much, 
while 
4% 
admitted 
to 
knowing 
nothing 
at 
all 
about 
the 
island. 
These 
data 
suggest 
that 
about 
one-third 
of 
film-induced 
tourists 
do 
not 
know 
what 
to 
expect 
from 
their 
visit 
to 
the 
island. 
In 
addition, 
a 
negative 
correlation 
was 
found 
between 
research 
prior 
to 
the 
visit 
and 
time 
expected 
to 
spend 
on 
visit 
(chi-squared 
p 
.0.001) 
and 
lots 
to 
do 
for 
children 
in 
Tobermory 
(chi-squared 
p 
.0.003), 
and 
both 
factors 
related 
to 
visit 
disappointment. 
Such 
a 
finding 
would 
seem 
to 
contradict 
Hill＊s 
(2002) 
analysis 
that 
fans 
research 
film 
locations 
thoroughly. 
Such 
findings 
raise 
implications 
for 
the 
marketing 
of 
the 
destination 
where 
essential 
information 
to 
potential 
tourists 
(such 
as 
awareness 
of 
limited 
public 
transport, 
length 
of 
journey 
and 
facilities 
on 
offer) 
is 
not 
transmitted 
prior 
to 
travel. 
Despite 
the 
best 
efforts 
of 
marketing 
bodies 
on 
the 
Island, 
if 
tourists 
fail 
to 
gain 
information 
before 
travel, 
through 
a 
tunnel 
vision 
approach 
to 
＆＆we 
must 
see 
Balamory＊＊, 
then 
expectations 
may 
not 
match 
actual 
experience 
and 
subsequent 
levels 
of 
satisfaction. 
The 
findings 
indicated 
that 
Tourist 
Information 
Centres 
and 
web-
sites 
were 
the 
most 
used 
sources 
of 
visit 
information, 
suggesting 
that 
a 
stronger 
message 
about 
the 
realities 
of 
the 
Island 
should 
be 
portrayed 
in 
these 
sources. 


Information 
provision 
is 
important 
because 
knowing 
the 
amount 
of 
time 
available 
to 
spend 
on 
the 
Island 
can 
be 
a 
major 
dictate 
of 
activity 
choices, 
and 
subsequent 
visit 
experiences. 
For 
foot 
passenger 
day 
trips, 
time 
in 
Tobermory 
is 
restricted 
according 


to 
the 
limited 
bus 
and 
ferry 
timetables. 
Accordingly, 
43% 
of 
respondents 
spent 
a 
morning 
or 
an 
afternoon 
in 
Tobermory, 
while 
35% 
spent 
between 
one 
and 
two 
hours. 
Some 
19% 
spent 
a 
whole 
day, 
although 
these 
respondents 
were 
more 
likely 
to 
be 
staying 
overnight 
rather 
than 
day-trippers. 
For 
nearly 
three-quarters 
of 
respondents, 
this 
was 
about 
the 
amount 
of 
time 
expected 
to 
spend. 
However, 
22% 
stated 
that 
they 
had 
spent 
less 
time 
than 
expected, 
which 
suggests 
that 
tourists 
may 
have 
higher 
expectations 
of 
what 
Tobermory 
has 
to 
offer 
than 
in 
reality. 
In 
addition, 
one-quarter 
of 
respondents 
thought 
that 
the 
journey 
from 
the 
ferry 
port 
to 
Tobermory 
was 
longer 
than 
they 
had 
anticipated. 
These 
findings 
raise 
serious 
issues 
for 
the 
local 
tourism 
industry 
on 
Mull, 
and 
those 
engaged 
more 
widely 
in 
screen 
tourism 
destination 
management 
in 
terms 
of 
meeting 
expectations 
through 
pragmatic 
marketing 
approaches. 


4.4. 
Evaluating 
the 
experiences 
of 
screen-induced 
tourists 
Responses 
to 
attitude 
statements 
are 
summarised 
in 
Table 
3. 
While 
the 
majority 
of 
respondents 
were 
satisfied 
with 
their 
visit, 
not 
all 
experiences 
were 
positive. 
A 
responsive 
tourism 
industry 
needs 
to 
be 
aware 
of 
what 
causes 
dissatisfaction 
and 
thus 
it 
is 
important 
to 
explore 
these 
factors. 
Some 
28.7% 
of 
adult 
respondents 
were 
disappointed 
with 
their 
trip 
(although 
only 
16.3% 
of 
children 
were 
very 
disappointed). 
Visit 
disappointment 
appears 
to 
be 
relatively 
low 
for 
children, 
but 
somewhat 
higher 
for 
adult 
respondents, 
indicating 
that 
parents/carers 
have 
a 
more 
finely 
tuned 
notion 
of 
the 
leisure 
experience 
they 
want 
their 
children 
to 
have, 
which 
may 
exceed 
the 
actual 
satisfaction 
level 
of 
children 
themselves. 
An 
overriding 
theme 
derived 
from 
the 
results 
was 
that 
respondents 
expected 
more 
Balamory-related 
activities, 
as 
well 
as 
more 
for 
children 
to 
do. 
A 
mere 
14.7% 
thought 
that 
there 
were 
lots 
of 
things 
for 
children 
to 
do 
in 
Tobermory. 


Further 
probing 
of 
those 
respondents 
who 
were 
disappointed 
by 
their 
visit 
reveals 
some 
interesting 
patterns. 
First, 
there 
was 
a 
slightly 
higher 
level 
of 
disappointment 
from 
children 
who 
would 
not 
have 
visited 
otherwise. 
Second, 
those 
who 
had 
visited 
just 
to 
see 
Balamory 
were 
more 
likely 
to 
be 
disappointed 
by 
their 
visit 
(34.9%) 
compared 
with 
all 
other 
groups. 
Third, 
of 
the 
respondents 
stating 
that 
they 
or 
their 
children 
were 
disappointed 
by 
the 
trip, 
most 
had 
not 
undertaken 
much 
research 
about 
the 
destination 
before 
the 
trip 
and 
spent 
less 
time 
than 
they 
had 
expected 
at 
the 
destination. 
These 
respondents 
had 
not 
visited 
other 
attractions 
on 
the 
Island. 
A 
significant 
number 
of 
disappointed 
visitors 
were 
on 
day 
visits 
from 
home 
(chi-squared 
p 
< 
0.000), 
who 
had 
in 
some 
cases 
travelled 
some 
distance. 
Finally, 
the 
data 
indicates 
that 
there 
may 
be 
some 
relationship 
between 
age 
of 
children 
and 
disappointment 
with 
visit, 
where 
those 
with 
older 
children 
more 
likely 
to 
be 
disappointed 
than 
those 
with 
younger 
children. 



Scenery 26.2% 
Tobermory 20.6% 
Other 9.6% Scenery 26.2% 
Tobermory 20.6% 
Other 9.6% 
J. 
Connell, 
D. 
Meyer 
/ 
Tourism 
Management 
30 
(2009) 
194每207 
201 
Table 
3 
Visit 
experience 
scores 
Percent 
of 
respondents 
stating 
agree 
or 
strongly 
agree 
Mean 
Std. 
dev. 
Seeing 
coloured 
houses 
was 
the 
highlight 
of 
the 
trip 
for 
the 
children 
89.5 
1.65 
0.838 
There 
were 
lots 
of 
things 
to 
for 
children 
in 
Tobermory 
14.7 
3.52 
0.922 
I 
felt 
that 
Tobermory 
was 
a 
safe 
environment 
for 
my 
children 
61.2 
2.46 
0.972 
I 
expected 
there 
to 
be 
more 
Balamory-related 
things 
to 
do 
70 
2.17 
1.161 
My 
children 
were 
disappointed 
by 
the 
trip 
to 
Balamory 
16.3 
3.73 
1.122 
I 
was 
disappointed 
by 
the 
trip 
to 
Balamory 
28.7 
3.41 
1.283 
We 
felt 
welcome 
in 
Tobermory 
75.8 
2.13 
0.863 
We 
got 
good 
value 
for 
money 
55.4 
2.53 
0.954 
I 
thought 
the 
Balamory 
theme 
was 
promoted 
too 
much 
11.6 
3.89 
0.924 
The 
journey 
from 
the 
ferry 
took 
longer 
than 
I 
had 
expected 
24.6 
3.60 
1.193 


Mean 
scores 
on 
a 
scale 
of 
1每5, 
where 
1 
.strongly 
agree 
and 
5 
.strongly 
disagree. 


Features 
of 
the 
trip 
that 
were 
liked 
and 
disliked 
were 
ascertained 
through 
open 
questions, 
directed 
at 
the 
respondent 
and 
the 
children 
in 
the 
group 
and 
yielding 
a 
diverse 
range 
of 
responses, 
illustrated 
in 
Figs. 
2每5. 
For 
ease 
of 
coding 
and 
manipulation, 
open 
answers 
were 
categorised 
to 
form 
a 
smaller 
number 
of 
responses. 
Ultimately, 
open 
questioning 
provides 
a 
useful 
approach 
as 
the 
respondent＊s 
views 
are 
expressed, 
revealing 
both 
the 
most 
positive 
and 
problematic 
areas 
of 
screen 
tourism 
as 
perceived 
by 
the 
respondent. 
Feedback 
of 
this 
nature 
can 
help 
to 
inform 
tourism 
policy 
and 
provision, 
where 
appropriate, 
given 
planning 
and 
budgetary 
constraints 
and 
acknowledging 
that 
screen 
tourism 
may 
not 
be 
an 
economically 
sustainable 
option 
in 
the 
long-term 
(Riley 
et 
al., 
1998). 
Fig. 
2 
highlights 
the 
importance 
of 
scenery 
and 
place 
components, 
although 
the 
pleasure 
induced 
by 
seeing 
children＊s 
enjoyment 
at 
visiting 
Balamory 
is 
clear. 
For 
children, 
seeing 
the 
show＊s 
icon, 
the 
coloured 
houses, 
was 
the 
highlight 
of 
the 
trip, 
along 
with 
other 
coloured 
house-related 
activities 
(such 
as 
finding 
the 
houses 
or 
visiting 
a 
particular 
house) 
(Fig. 
3), 
reinforcing 
the 
idea 
of 
seeking 
iconic 
features 
in 
screen 
tourism. 


In 
relation 
to 
aspects 
of 
the 
visit 
that 
were 
liked 
less, 
there 
were 
many 
similarities 
between 
carers 
and 
children＊s 
viewpoints 
(see 
Figs. 
4 
and 
5). 
As 
in 
most 
visitor 
surveys, 
the 
least 
liked 
feature 
of 
the 
visit 
was 
bad 
weather 
for 
both 
groups. 
For 
carers, 
by 
far 
the 
most 
significant 
area 
of 
concern 
was 
over 
transport 
difficulties 
(length 
of 
bus 
journey, 
cost 
of 
ferry, 
and 
rush 
for 
buses). 
In 
peak 
season 
at 
peak 
times, 
lack 
of 
capacity 
was 
a 
major 
problem 
for 
local 
transport 
providers 
on 
Mull, 
with 
the 
increased 
level 
of 
demand 
that 
could 
not 
be 
easily 
accommodated 
on 
scheduled 
services 
and 
with 
a 
limited 
fleet. 
For 
children, 
not 
meeting 
Balamory 
characters, 
not 
being 
able 
to 
go 
into 
the 
coloured 
houses 
and 
not 
much 
provided 
that 
was 
to 
do 
with 
Balamory 
were 
the 
main 
areas 
of 
complaint. 


Missing 7.2% 

Nothing 2.6% 

Everything 3.1% 

Journey 5.1% 

Coloured 
houses 11.2% 


Happy kids 14.4% 

These 
findings 
indicate 
a 
need 
for 
flexible, 
innovative 
and 
short-
term 
solutions 
within 
the 
destination 
for 
screen 
tourists, 
but 
as 
Connell 
(2005b) 
points 
out, 
most 
operators 
are 
not 
prepared 
to 
make 
investments 
given 
perceived 
investment 
costs 
and 
the 
perceived 
limited 
longevity 
of 
the 
product. 
Indeed, 
visitor 
dislikes 
shared 
much 
in 
common 
with 
the 
concerns 
of 
businesses 
and 
local 
residents, 
many 
of 
whom 
considered 
some 
of 
the 
existing 
public 
sector 
infrastructure 
used 
both 
by 
tourists 
and 
residents 
alike 
to 
be 
in 
need 
of 
improvement 
(e.g. 
transport 
services 
and 
local 
facilities 
such 
as 
toilets 
and 
play 
parks) 
as 
reported 
by 
Connell 
(2005b). 
Interestingly, 
this 
points 
to 
a 
need 
for 
communication 
between 
tourists, 
agencies 
and 
the 
local 
business 
sector, 
as 
the 
perceptions 
of 
businesses 
did 
not 
necessarily 
match 
the 
views 
of 
tourists. 
Only 
17.2% 
of 
respondents 
who 
suggested 
screen-related 
improvements 
to 
the 
destination 
wanted 
to 
see 
a 
visitor 
centre, 
with 
the 
majority 
desiring 
to 
see 
short-term 
and 
relatively 
simple 
innovations, 
such 
as 
cardboard 
cut-outs 
of 
characters, 
characters 
dressed 
up, 
leaflets, 
quizzes, 
maps, 
tours 
and 
plaques 
on 
the 
coloured 
houses. 
Of 
the 
whole 
sample, 
32.3% 
suggested 
that 
improvements 
to 
the 
general 
infrastructure 
of 
the 
destination 
were 
needed 
such 
as 
easier 
transport 
and 
play 
areas 
for 
children. 


In 
making 
sense 
of 
the 
various 
features 
of 
visits 
that 
were 
liked 
and 
disliked 
by 
adults 
and 
children, 
a 
basic 
frequency 
analysis 
of 
the 
major 
aspects 
(for 
pragmatism, 
taken 
as 
all 
responses 
achieving 
more 
than 
5%) 
revealed 
a 
useful 
distinction 
between 
destination-
related 
and 
screen-related 
components. 
Table 
4 
shows 
that 
a 
much 
higher 
proportion 
of 
aspects 
liked 
and 
disliked 
by 
adults 
were 
destination-related 
(e.g. 
scenery, 
beach, 
costs, 
transport) 
than 
screen-related. 
Conversely, 
for 
children 
a 
higher 
proportion 
of 
features 
liked 
were 
screen-related. 
However, 
dislikes 
were 
more 


Other 10.8% 

Everything 3.6% 

Ferry trip 5.6% 

Visiting Balamory 
6.2% 


Coloured houses 
69.7% 

Fig. 
2. 
Features 
of 
the 
visit 
liked 
most 
by 
adults: 
percentage 
of 
respondents. 
Fig. 
3. 
Features 
of 
the 
visit 
liked 
most 
by 
children: 
percentage 
of 
respondents. 


Missing 4.1% 

Tobermory 
10.0% 
Lack of things 
Tobermory 
10.0% 
Lack of things 
J. 
Connell, 
D. 
Meyer 
/ 
Tourism 
Management 
30 
(2009) 
194每207 
Not enough

Cost 

Balamory

3.1%

Other 6.1% 

to do 
14.9% 
Missing 
13.0% 

Weather 
16.9% 

Nothing 
10.8% 

6.2%

Journey 
19.0% 

Fig. 
4. 
Features 
of 
the 
visit 
liked 
least 
by 
adults: 
percentage 
of 
respondents. 


likely 
to 
be 
destination-related. 
While 
this 
is 
a 
relatively 
crude 
measure, 
it 
does 
give 
an 
indication 
of 
the 
importance 
of 
screen-
related 
elements 
opposed 
to 
destination 
elements 
and 
suggests 
that 
an 
attractive 
destination 
with 
good 
facilities 
could 
hypothetically 
underpin 
the 
success 
of 
a 
screen-induced 
tourism 
destination. 


4.5. 
Propensity 
to 
return 
For 
the 
tourism 
industry, 
gaining 
loyal 
custom 
(see 
Petrick, 
2004) 
is 
an 
efficient 
and 
attractive 
means 
of 
doing 
business, 
but 
a 
major 
concern 
with 
screen 
tourism 
is 
that 
it 
only 
creates 
short-
term 
interest. 
The 
findings 
in 
this 
study 
indicate 
a 
large 
proportion 
of 
respondents 
intend 
to 
return 
for 
another 
trip 
(66.5% 
in 
total, 
with 
32% 
stating 
that 
they 
would 
definitely 
return). 
Most 
encouraging 
for 
the 
tourism 
sector 
in 
this 
destination, 
keen 
to 
stimulate 
more 
overnight 
stays 
rather 
than 
day 
trips, 
is 
the 
15% 
of 
respondents 
stating 
that 
they 
would 
return 
for 
a 
long 
holiday 
(4tnights), 
and 
a 
further 
47% 
who 
said 
they 
were 
more 
likely 
to 
return 
for 
a 
short 
break 
(1每3 
nights). 
Of 
those 
that 
expressed 
that 
they 
would 
definitely 
return, 
a 
larger 
proportion 
were 
first-time 
visitors 
(p 
.0.05), 
and 
77.8% 
of 
respondents 
that 
had 
arrived 
specifically 
to 
see 
Balamory 
said 
that 
a 
return 
visit 
was 
likely. 
A 
significant 
relationship 
was 
found 
between 
those 
who 
visited 
other 
attractions 
and 
the 
likelihood 
of 
a 
return 
visit 
(chi-squared 
9.409, 
df 
4, 
p 
.0.052). 


Missing 
19% 


Not enough 
Balamory 
26% 

Other 

12% 

Not enough to 
do 
6% 


Nothing 

Journey

11% 

12% 

Weather 
14% 

Fig. 
5. 
Features 
of 
the 
visit 
liked 
least 
by 
children: 
percentage 
of 
respondents. 


Table 
4 


Film-related 
and 
destination-related 
components 
liked 
and 
disliked 


Film-related 
components 
(%) 
Destination-related 
components 
(%) 
Adult＊s 
likes 
Seeing 
children＊s 
enjoyment 
Seeing 
coloured 
houses 
14.4 
9.2 
Scenery/landscape 
Walking 
around 
Tobermory 
Beach 
26.2 
11.8 
7.2 
Adult＊s 
dislikes 
Transport 
on 
island 
Cost 
18.5 
16.4 
Weather 
16.4 
Lack 
of 
good 
facilities 
Lack 
of 
things 
to 
do 
7.2 
6.2 
Children＊s 
likes 
Seeing 
coloured 
houses 
Seeing 
Balamory 
village 
Visiting 
specific 
houses 
54.9 
6.2 
6.2 
Ferry 
journey 
5.6 
Children＊s 
dislikes 
No 
Balamory 
characters 
12.8 
Weather 
Transport 
and 
journey 
Walking 
up 
hills 
Not 
much 
to 
do 
14.4 
12.3 
7.2 
5.6 


Some 
27.9% 
of 
those 
who 
said 
that 
they 
were 
disappointed 
with 
their 
visit 
stated 
that 
they 
would 
definitely 
not 
return 
for 
another 
visit 
and 
a 
significant 
relationship 
between 
＆disappointed 
with 
visit＊ 
and 
＆return 
visit 
likely＊ 
was 
identified 
(chi-squared 
50.617, 
df 
16, 
p 
< 
0.000). 
These 
issues 
are 
now 
further 
explored 
through 
structural 
equation 
modelling. 


5. 
Understanding 
visit 
experiences, 
characteristics 
and 
propensity 
to 
return 
through 
structural 
equation 
modelling 
A 
structural 
equation 
model 
has 
been 
developed 
using 
AMOS 
version 
5 
to 
further 
explore 
the 
relationships 
between 
visit 
characteristics, 
child 
and 
adult 
visit 
experiences 
and 
likelihood 
of 
making 
a 
return 
visit 
to 
the 
Island. 
The 
underlying 
constructs 
were 
designed 
in 
accordance 
with 
these 
research 
areas 
with 
some 
assistance 
from 
exploratory 
factor 
analysis. 
There 
are 
numerous 
goodness 
of 
fit 
statistics 
for 
these 
models, 
but 
according 
to 
Byrne 
(2001) 
the 
root 
mean 
square 
of 
approximation 
(RMSEA) 
suggested 
by 
Browne 
and 
Cudeck 
(1993), 
the 
normed 
chi-square 
(CMIN/DF) 
first 
suggested 
by 
Wheaton, 
Muthen, 
Alwin, 
and 
Summers 
(1977), 
and 
the 
comparative 
fit 
index 
(CFI) 
suggested 
by 
Bentler 
(1990) 
are 
three 
of 
the 
most 
reliable 
measures. 
Byrne 
suggests 
that 
models 
with 
a 
CMIN/DF 
ratio 
of 
between 
one 
and 
two 
may 
be 
considered 
adequate, 
provided 
that 
fit 
indices 
such 
as 
the 
CFI 
are 
reasonably 
close 
to 
one, 
preferably 
above 
0.90. 
RMSEA 
values 
below 
0.05 
indicate 
an 
excellent 
fit 
while 
models 
with 
RMSEA 
values 
above 
0.10 
indicate 
an 
inappropriate 
model. 


With 
sample 
sizes 
of 
less 
than 
200, 
a 
maximum 
likelihood 
analysis 
must 
be 
performed, 
assuming 
that 
the 
variables 
all 
have 
a 
normal 
distribution. 
However, 
in 
this 
case, 
most 
of 
the 
variables 
are 
measured 
on 
an 
ordinal 
scale. 
Correlations 
are 
underestimated 
in 
this 
situation 
so 
the 
standardised 
coefficients 
(beta 
weights) 
displayed 
in 
our 
models 
are 
probably 
underestimated. 
In 
the 
path 
diagrams 
of 
the 
models 
straight 
lines 
suggest 
causal 
links 
and 
for 
the 
sake 
of 
visual 
simplicity 
error 
terms 
have 
been 
omitted 
from 
the 
path 
diagrams. 


To 
briefly 
recap, 
some 
34% 
of 
respondents 
said 
that 
a 
repeat 
visit 
was 
probable 
while 
32% 
of 
respondents 
said 
that 
it 
was 
definite. 
This 
left 
34% 
of 
respondents 
who 
were 
not 
sure 
or 
unlikely 
to 
return. 
Fifty-nine 
percent 
of 
respondents 
said 
that 
they 
were 
not 
disappointed 
with 
their 
trip 
to 
Balamory 
leaving 
10% 
who 
were 
very 
disappointed 
with 
their 
trip, 
17% 
who 
were 
disappointed 
to 
some 
extent 
and 
10% 
who 
were 
unsure 
regarding 
their 
level 
of 



J. 
Connell, 
D. 
Meyer 
/ 
Tourism 
Management 
30 
(2009) 
194每207 
disappointment. 
However, 
it 
seems 
that 
the 
children 
were 
more 
appreciative 
of 
the 
trip 
with 
68% 
of 
respondents 
claiming 
that 
the 
children 
were 
not 
disappointed 
with 
only 
6% 
of 
children 
being 
very 
disappointed, 
10% 
being 
disappointed 
to 
some 
extent 
and 
13% 
unsure. 
A 
Wilcoxon 
Signed 
Rank 
test 
indicated 
a 
significant 
different 
difference 
between 
the 
views 
of 
parent/carers 
and 
the 
views 
of 
the 
children 
as 
reported 
by 
the 
parent/carers 
(z 
.3.972, 
p 
< 
0.001). 


As 
expected 
there 
was 
a 
significant 
relationship 
between 
the 
attitudes 
of 
parent/carers 
and 
the 
attitudes 
of 
the 
children 
(Kendall＊s 
tau_b 
.0.610, 
p 
< 
0.001). 
However, 
there 
was 
a 
stronger 
correlation 
with 
the 
likelihood 
of 
a 
return 
visit 
in 
the 
case 
of 
the 
parent/carer＊s 
view 
(Kendall＊s 
tau_b 
.0.297, 
p 
< 
0.001) 
than 
in 
the 
case 
of 
the 
reported 
children＊s 
view 
(Kendall＊s 
tau_b 
.0.253, 
p 
< 
0.001). 
This 
suggested 
that 
children＊s 
view 
had 
an 
influence 
on 
adult＊s 
views, 
but 
adult 
views 
determined 
whether 
a 
return 
trip 
would 
be 
likely. 


Structural 
equation 
modelling 
was 
used 
to 
formulate 
a 
model 
for 
child 
and 
adult 
disappointment, 
as 
well 
as 
the 
decision 
regarding 
a 
return 
trip. 
The 
fit 
was 
reasonably 
good 
for 
this 
model 
(CMIN/DF 
.1.649, 
RMSEA 
.0.058, 
CFI 
.0.90). 
In 
this 
model, 
shown 
in 
Fig. 
6, 
there 
is 
an 
indirect 
link 
between 
children＊s 
level 
of 
disappointment 
and 
the 
likelihood 
of 
a 
return 
visit, 
with 
mediation 
by 
the 
adult 
level 
of 
disappointment, 
but 
there 
is 
no 
direct 
link 
between 
the 
views 
of 
children 
and 
the 
likelihood 
of 
a 
return 
visit, 
which 
was 
found 
to 
be 
insignificant 
(CR 
.0.85, 
p 
.0.394). 


Other 
interesting 
aspects 
of 
the 
model 
included 
the 
variables 
that 
weighted 
more 
strongly 
in 
the 
prediction 
of 
child 
disappointment 
than 
parent/carer 
disappointment. 
Two 
of 
the 
variables, 
＆＆More 
Balamory 
activities 
expected＊＊ 
(b 
.0.38) 
and 
＆＆Coloured 


Children 
disappointed 
Degree of influence 
of Balamory in visit 
Coloured houses 
was highlight for kids 
More Balamory 
activities expected 
Good value for money 
Balamory theme 
promoted too much 
Visit regardless 
of Balamory 
Did coloured 
houses trail 
Lots for kids to 
do in Tobermory 
Been before 
Adult 
disappointed 
Return visit 
likely 
-0.11 
0.58 
Age of first child 
Visited cafe 
-0.15 
0.23 
0.35 
0.10 
0.16 
-0.23 
0.10 
0.38 
-0.19 
-0.15 
-0.29 
-0.24 
0.26 
0.20 
Fig.6.Modelforthelikelihoodofareturnvisit每betacoefficientsshownatthecentre-
pointofeachlink.(CMIN/DF.1.649,CFI.0.897,RMSEA.0.058).
houses 
were 
the 
highlight 
for 
the 
kids＊＊ 
(b 
.0.19) 
can 
probably 
be 
attributed 
to 
genuine 
reactions 
on 
the 
part 
of 
the 
children. 
Children 
were 
more 
disappointed 
with 
their 
trip 
if 
they 
expected 
more 
Balamory 
activities 
and 
more 
satisfied 
with 
their 
trip 
if 
they 
loved 
the 
coloured 
houses. 
However, 
the 
inclusion 
of 
＆＆Balamory 
promoted 
too 
much＊＊ 
and 
＆＆Good 
value 
for 
money＊＊ 
in 
the 
model 
for 
children＊s 
disappointment 
seem 
inappropriate, 
suggesting 
that 
the 
reported 
reaction 
of 
the 
children 
was 
coloured 
by 
the 
response 
of 
parents/carers 
to 
these 
issues. 
This 
is 
confirmed 
by 
the 
direct 
links 
between 
these 
variables 
and 
the 
likelihood 
of 
a 
return 
visit. 
Good 
value 
for 
money 
certainly 
increased 
the 
likelihood 
of 
a 
return 
visit 
(b 
.0.35), 
in 
that 
it 
was 
reported 
to 
increase 
child 
satisfaction 
(b 
.0.24). 
However, 
the 
over-promotion 
of 
Balamory 
appears 
to 
have 
had 
a 
slightly 
positive 
impact 
on 
the 
likelihood 
of 
a 
return 
visit 
(b 
.0.10), 
despite 
some 
contribution 
to 
child 
disappointment 
with 
the 
trip 
(b 
.0.26). 


Interestingly, 
disagreement 
with 
＆＆Lots 
for 
kids 
to 
do 
in 
Tobermory＊＊ 
was 
more 
strongly 
weighted 
for 
adult 
satisfaction 
(b 
.0.23) 
than 
children＊s 
satisfaction 
(b 
.0.15), 
and 
the 
coloured 
houses, 
so 
importance 
to 
the 
children 
also 
added 
to 
adult 
satisfaction 
slightly 
(b 
.0.11), 
confirming 
that 
the 
reaction 
of 
the 
children 
was 
important 
in 
shaping 
adult 
opinions. 
However, 
there 
was 
evidence 
of 
some 
disappointment 
for 
adults 
in 
terms 
of 
cafe∩ 
facilities 
(b 
.0.10) 
and 
the 
Balamory 
influence 
of 
the 
visit 
(b 
.0.16). 
Overall, 
it 
appears 
that 
the 
lower 
the 
influence 
of 
Balamory 
for 
the 
visit, 
the 
higher 
the 
level 
of 
adult 
satisfaction. 
As 
expected, 
a 
return 
visit 
was 
more 
likely 
if 
adult 
disappointment 
was 
lower 
(b 
.0.29) 
and 
if 
Balamory 
was 
not 
the 
only 
reason 
for 
the 
visit 
(b 
.0.20), 
especially 
when 
there 
had 
been 
previous 
visits 
to 
Mull 
(b 
.0.23). 
The 
age 
of 
the 
first 
child 
was 
negatively 
correlated 
with 
the 
likelihood 
of 
a 
return 
visit, 
suggesting 
that 
a 
return 
visit 
was 
more 
likely 
for 
those 
families 
with 
younger 
children. 


Overall, 
the 
above 
results 
suggest 
that 
while 
adult 
disappointment 
was 
strongly 
related 
to 
children＊s 
disappointment, 
it 
is 
likely 
that 
the 
adult 
reaction 
to 
prices 
and 
Balamory 
promotion 
coloured 
the 
perception 
of 
childhood 
disappointment. 
The 
most 
important 
variable 
for 
predicting 
whether 
there 
would 
be 
a 
return 
visit 
was 
＆＆good 
value 
for 
money＊＊. 
This 
sends 
a 
clear 
message 
to 
tourism 
operators 
targeting 
families 
with 
young 
children 
both 
on 
Mull 
(for 
example, 
Connell 
(2005b) 
suggests 
that 
several 
businesses 
expressed 
a 
desire 
to 
become 
more 
family-friendly 
by 
altering 
their 
service 
provision) 
and 
more 
widely. 
It 
seems 
that 
parent/carers 
are 
happy 
to 
indulge 
the 
kids 
provided 
that 
the 
price 
is 
not 
too 
high. 
However, 
it 
is 
important 
that 
the 
advertising 
should 
not 
be 
totally 
dominated 
by 
Balamory, 
because 
satisfaction 
with 
the 
visit 
and 
the 
likelihood 
of 
a 
return 
visit 
is 
likely 
to 
be 
higher 
if 
Mull＊s 
other 
attractions 
are 
also 
used 
to 
promote 
the 
destination. 


6. 
Implications 
for 
screen 
tourism 
destinations 
While 
there 
are 
a 
few 
instances 
of 
books, 
film 
and 
TV 
stimulating 
childhood 
interest 
in 
place 
(e.g. 
the 
Harry 
Potter 
films 
and 


A.A. 
Milne＊s 
Winnie-the-Pooh), 
globally 
the 
scale 
of 
screen-induced 
＆toddler 
tourism＊ 
generated 
by 
Balamory 
appears 
to 
be, 
so 
far, 
an 
isolated 
case 
but 
one 
which 
illustrates 
a 
range 
of 
implications 
for 
a 
screen 
tourism 
destination, 
where 
on-screen 
portrayal 
has 
influenced 
new 
visits 
and 
created 
a 
new 
market. 
The 
findings 
of 
this 
research 
raise 
a 
number 
of 
issues 
relevant 
to 
screen 
tourism 
development, 
management 
and 
marketing 
and 
highlight 
what 
can 
be 
learned 
from 
the 
example 
of 
Balamory. 
6.1. 
Conceptual 
issues 
While 
this 
paper 
does 
not 
aim 
to 
develop 
conceptual 
issues 
in 
depth, 
some 
points 
that 
emerge 
from 
this 
study 
that 
confirm 
existing 
ideas 
are 
worthy 
of 
mention. 
Primarily, 
Balamory 
as 
a 
TV 



J. 
Connell, 
D. 
Meyer 
/ 
Tourism 
Management 
30 
(2009) 
194每207 
programme 
is 
place-specific 
and 
relies 
heavily 
on 
place 
imagery. 
While 
Balamory 
as 
a 
place 
is 
an 
artificial 
construction, 
the 
screen 
attributes 
portrayed, 
such 
as 
the 
exterior 
of 
the 
coloured 
houses 
and 
the 
landscape 
setting, 
are 
rooted 
in 
reality 
and 
available 
for 
tourist 
consumption. 
As 
discussed 
in 
the 
previous 
section, 
not 
readily 
available 
for 
consumption 
are 
the 
characters 
and 
social 
setting 
created 
by 
the 
programme. 
Tobermory 
is 
a 
real 
community 
that 
bears 
only 
a 
visual 
resemblance 
to 
its 
screen 
counterpart. 
For 
tourists, 
the 
translation 
of 
Balamory 
to 
reality 
is 
essentially 
the 
opportunity 
to 
look 
at 
the 
coloured 
houses 
used 
in 
filming, 
while 
experiencing 
the 
ambience 
of 
the 
real 
Tobermory. 
Supporting 
Eco＊s 
(1986) 
analysis 
that 
hyperreality 
is 
savoured 
as 
an 
end 
in 
itself, 
conceptions 
of 
reality 
and 
pretence 
appear 
to 
be 
mixed 
for 
Balamory 
tourists 
(see 
also 
Davin, 
2005). 
This 
is 
illustrated 
in 
a 
few 
open 
answers 
given 
by 
respondents 
in 
the 
survey, 
when 
asked 
about 
suggested 
improvements 
to 
the 
destination: 
＆＆be 
more 
like 
the 
show＊＊, 
＆＆be 
more 
realistic 
to 
the 
programme＊＊ 
and 
＆＆make 
it 
like 
Disney＊＊. 
Such 
a 
finding 
also 
confirms 
the 
findings 
of 
Carl 
et 
al. 
(2007), 
whose 
research 
on 
Lord 
of 
the 
Rings 
arrived 
at 
similar 
conclusions. 
For 
Balamory 
visitors, 
while 
place 
setting 
was 
a 
feature 
liked 
by 
respondents, 
some 
screen 
tourists 
seek 
hyperreal 
experiences. 
In 
particular, 
specific 
tourists, 
who 
are 
just 
visiting 
to 
see 
the 
film 
location, 
appear 
to 
have 
much 
greater 
expectations 
of 
the 
destination 
than 
others. 
These 
visitors 
seek 
out 
identifiable 
locations 
but 
find 
that 
they 
are 
forbidden 
further 
interaction, 
i.e. 
not 
able 
to 
enter 
houses, 
see 
the 
characters 
or 
visit 
a 
themed 
centre. 
This 
created 
disappointment 
for 
a 
small 
number 
of 
children 
but, 
interestingly, 
a 
larger 
proportion 
of 
adults. 


How 
might 
this 
be 
explained? 
If 
tourism 
is 
conceptualised 
through 
the 
＆tourist 
gaze＊ 
(Urry, 
1990), 
essentially 
it 
is 
a 
hyperreal 
experience 
where, 
as 
Eco 
(1986) 
argues, 
there 
is 
always 
＆something 
to 
see＊. 
The 
tourist, 
and 
especially 
the 
sight-seeing 
tourist, 
has 
become 
used 
to 
experiential-based 
activities 
that 
are 
produced 
and 
packaged, 
and 
is 
well-initiated 
in 
the 
art 
of 
passive 
consumption: 
indeed, 
the 
＆post-tourist＊ 
relishes 
simulated 
environments 
for 
what 
they 
are 
(Feifer, 
1985). 
Further, 
the 
tourist 
is 
drawn 
to 
the 
＆carnivalesque＊: 
controlled, 
safe 
environments 
designed 
for 
the 
＆＆decontrol 
of 
emotions.＊＊ 
(Featherstone, 
1991: 
80). 
However, 
the 
reality 
is 
perhaps 
less 
intriguing 
than 
the 
imagery, 
with 
respondents 
concerned 
about 
issues 
like 
value 
for 
money, 
safety, 
lack 
of 
things 
to 
do 
and 
in 
particular 
and 
a 
lack 
of 
screen 
tourism 
specific 
facilities 
to 
serve 
their 
needs. 
Indeed, 
tourist 
disappointment 
has 
been 
seen 
in 
other 
screen 
locations: 
as 
Gilsdorf 
(2006) 
comments 
on 
screen 
tourism 
in 
the 
USA, 
seeing 
actual 
locations 
can 
be 
an 
anticlimax. 
The 
implications 
of 
the 
blurring 
of 
reality 
and 
fiction 
in 
the 
case 
of 
screen 
tourism 
highlight 
potential 
management 
dilemmas 
for 
screen 
tourism 
destinations, 
which 
will 
now 
be 
explored 
in 
more 
detail. 


6.2. 
Managing 
the 
screen 
tourism 
destination 
The 
results 
of 
this 
research 
indicate 
that 
there 
are 
several 
outcomes 
concerning 
the 
screen 
tourist 
destination 
experience 
and 
arising 
management 
challenges. 
The 
survey 
findings 
indicate 
two 
broad 
levels 
of 
interest. 


6.2.1. 
Acknowledging 
the 
toddler 
tourist 
as 
consumer 
While 
this 
paper 
is 
concerned 
with 
screen 
tourist 
experiences, 
it 
is 
worth 
briefly 
noting 
the 
existence 
of 
the 
child 
as 
a 
consumer 
of 
tourism 
products 
and 
experiences 
in 
the 
case 
of 
Balamory. 
In 
this 
study, 
greater 
visit 
satisfaction 
was 
expressed 
by 
parents/carers 
where 
children 
were 
satisfied, 
supporting 
Thornton, 
Shaw 
and 
Williams＊ 
(1997) 
premise 
that 
parents 
tend 
to 
be 
satisfied 
when 
children 
are 
happy. 
Many 
visits 
were 
prompted 
by 
a 
child＊s 
wish 
to 
see 
Balamory, 
while 
for 
many 
parents/carers, 
the 
best 
part 
of 
their 
visit 
was 
seeing 
the 
look 
on 
their 
child＊s 
face 
when 
they 
saw 
the 


coloured 
houses 
for 
the 
first 
time 
and 
seeing 
their 
child 
happy. 
This 
finding 
supports 
Singh 
and 
Best＊s 
(2004) 
research 
on 
visitors 
to 
the 
Lord 
of 
the 
Rings 
movie 
set, 
where 
a 
major 
motivation 
to 
visit 
was 
to 
satisfy 
children＊s 
interest. 


The 
emergent 
issue 
of 
parent 
and 
child 
perception 
of 
experience 
is 
an 
interesting 
issue 
for 
destination 
managers 
(including 
VisitScotland, 
Scottish 
Enterprise 
and 
Argyll 
and 
Bute 
Council) 
where, 
in 
most 
cases, 
children 
were 
satisfied 
with 
the 
visual 
experience 
of 
seeing 
Tobermory＊s 
picturesque 
built 
environment. 
Indeed, 
just 
going 
to 
a 
real 
location 
to 
see 
where 
filming 
took 
place 
is 
often 
a 
highly 
satisfying 
experience 
(Couldry, 
1998). 
Conversely, 
more 
parents/carers 
were 
less 
satisfied 
with 
the 
visit, 
expecting 
more 
attractions 
and 
a 
greater 
level 
of 
dedicated 
screen-related 
activities, 
along 
with 
good 
tourist 
services 
and 
facilities. 
James, 
Jenks, 
and 
Prout 
(1998) 
argue 
that 
adults 
and 
children 
can 
understand 
and 
enjoy 
the 
same 
kinds 
of 
cultural 
products, 
but 
as 
Davies 
(2001) 
highlights, 
their 
product 
experiences 
are 
likely 
to 
differ. 
This 
appears 
to 
be 
the 
case 
in 
relation 
to 
screen 
tourist 
experiences 
of 
Tobermory, 
where 
children 
show 
a 
stronger 
propensity 
to 
be 
satisfied 
with 
their 
visit 
than 
their 
parents/carers, 
and 
emphasise 
connections 
with 
the 
TV 
show 
more 
strongly 
in 
what 
they 
liked 
most 
and 
least 
about 
the 
visit. 
While 
children 
are 
only 
likely 
to 
form 
a 
small 
proportion 
of 
screen 
tourists 
in 
the 
global 
context, 
the 
rise 
of 
the 
child 
as 
consumer 
coupled 
with 
increasing 
participation 
in 
cinema 
attendance 
by 
young 
people 
(see, 
for 
example, 
Film 
Council, 
2007), 
screen-induced 
tourism 
involving 
children 
will 
inevitably 
occur 
in 
other 
places 
in 
much 
the 
same 
way 
as 
it 
has 
on 
the 
Isle 
of 
Mull. 
As 
an 
aside, 
and 
most 
interestingly, 
while 
other 
productions 
since 
have 
been 
predicted 
to 
produce 
a 
similar 
screen 
tourism 
effect 


(e.g. 
Macgregor, 
2003), 
this 
has 
not 
happened. 
Perhaps 
this 
outcome 
is 
related 
to 
the 
visual 
identity 
and 
strength 
of 
a 
filming 
location 
and 
its 
appeal 
to 
certain 
target 
audiences 
that 
results 
in 
a 
desire 
to 
see 
the 
location, 
but 
research 
is 
needed 
to 
test 
this 
idea 
by 
identifying 
the 
ingredients 
of 
the 
most 
powerful 
screen 
tourist 
draw. 
6.2.2. 
Recognising 
types 
of 
screen 
tourists 
and 
destination 
experiences 
The 
research 
identifies 
that 
distinguishing 
types 
of 
screen-induced 
tourists 
is 
important, 
as 
the 
level 
of 
expectation 
and 
satisfaction 
can 
be 
quite 
different. 
This 
research 
identifies 
that 
the 
elite 
screen 
tourist 
is 
more 
likely 
to 
have 
different 
perspectives 
to 
serendipitous 
or 
general 
screen 
tourists. 
Elite 
screen 
tourists 
appear 
to 
be 
more 
sensitive 
to 
the 
visit 
environment, 
seeking 
out 
readily 
consumable 
products 
and 
experiences 
designed 
to 
meet 
their 
screen-focused 
needs. 
Building 
on 
Macionis＊s 
(2004) 
spectrum, 
this 
study 
indicates 
the 
existence 
of 
an 
elite 
category 
of 
specific 
screen 
tourist, 
who 
visits 
purely 
to 
see 
the 
film 
location. 
In 
fact, 
what 
the 
data 
shows 
is 
that 
those 
respondents 
who 
visited 
just 
to 
see 
the 
film 
location 
were 
more 
likely 
to 
be 
dissatisfied 
than 
those 
who 
were 
visiting 
to 
see 
other 
attractions 
and 
places 
on 
the 
Island. 
What 
is 
clear 
from 
the 
results 
of 
this 
study 
is 
that 
screen 
tourists 
do 
seek 
value 
for 
money, 
where 
such 
visitors 
are 
more 
likely 
to 
buy 
screen-related 
merchandise 
but 
not 
at 
excessive 
prices. 
General 
screen 
tourists 
appear 
to 
not 
like 
too 
much 
promotion 
of 
screen-related 
links 
(see 
also 
the 
findings 
of 
Busby 
and 
O＊Neill). 
Indeed, 
important 
for 
the 
destination 
is 
that 
the 
lower 
the 
influence 
of 
a 
screen 
product, 
the 
higher 
the 
overall 
satisfaction 
with 
the 
visit, 
and 
a 
return 
visit 
is 
more 
likely. 
Striking 
a 
balance 
between 
visitors＊ 
requirements 
is 
crucial 
in 
this 
instance, 
through 
understanding 
the 
existence 
of 
types 
of 
screen 
tourists 
and 
their 
subsequent 
needs. 
In 
the 
instance 
of 
Balamory, 
it 
was 
found 
that 
the 
numbers 
of 
elite 
and 
specific 
screen 
tourists 
were 
relatively 
large 
at 
34.7% 
and 
36% 
of 
the 
sample 
respectively, 
a 
number 
likely 
to 
be 
much 
lower 
at 
other 
film 
sites, 
although 
survey 
methodologies 
have 
yet 
to 
be 
developed 
to 
accurately 
determine 
relative 
proportions 
of 
types 
of 
tourist. 



J. 
Connell, 
D. 
Meyer 
/ 
Tourism 
Management 
30 
(2009) 
194每207 
6.2.3. 
The 
tourist每destination 
interface 
The 
overall 
implications 
of 
this 
research 
study 
that 
are 
more 
widely 
applicable 
to 
other 
destinations 
relate 
to 
the 
quality 
and 
suitability 
of 
existing 
tourism 
infrastructure, 
the 
ability 
of 
tourism 
enterprises 
and 
operators 
to 
manage 
tourist 
flows, 
the 
availability 
of 
good 
tourist 
information, 
the 
suitability 
of 
marketing 
campaigns, 
the 
development 
and 
delivery 
of 
screen-related 
products 
and 
experiences 
and 
the 
legacy 
of 
screen 
tourism 
in 
creating 
repeat 
visits 
and 
long-term 
interest. 
In 
relation 
to 
the 
screen 
tourist, 
an 
interpretation 
of 
the 
factors 
that 
appear 
to 
generate 
satisfactory 
or 
disappointing 
visits 
helps 
to 
inform 
the 
development 
of 
principles 
for 
managing 
screen 
tourism. 
While 
the 
natural 
and 
built 
landscape 
and 
setting 
of 
the 
destination 
is 
one 
of 
the 
key 
factors, 
other 
features 
that 
remain 
in 
the 
control 
of 
tourism 
enterprises 
and 
destination 
managers 
include 
the 
following 
points. 


 Transfer 
and 
accommodation 
of 
visitors, 
transportation, 
site 
flows 
and 
capabilities 
affect 
the 
physical 
and 
perceptual 
carrying 
capacities 
of 
a 
destination 
and 
affect 
satisfaction. 
In 
the 
case 
of 
Balamory, 
over-capacity 
problems 
on 
public 
transport 
services 
to 
and 
from 
the 
destination 
were 
a 
major 
issue 
for 
tourists, 
which 
contributed 
to 
disappointment 
with 
the 
visit. 
 A 
further 
significant 
visit 
planning 
issue 
identified 
in 
this 
study 
appears 
to 
be 
the 
availability 
of 
pre-visit 
information 
about 
a 
screen 
tourism 
destination. 
The 
data 
showed 
that 
greater 
satisfaction 
was 
expressed 
where 
some 
research 
had 
taken 
place 
prior 
to 
the 
visit, 
and 
where 
the 
visitor 
spent 
more 
time 
in 
the 
destination 
and 
visited 
other 
attractions 
in 
the 
destination 
that 
were 
not 
screen-related. 
Consequently, 
a 
marketing-
led 
approach 
is 
required 
to 
ensure 
that 
tourists 
are 
cognisant 
with 
the 
type 
of 
environment 
that 
they 
are 
visiting, 
and 
have 
easy 
access 
to 
carefully 
targeted 
information 
indicating 
the 
types 
of 
attractions 
on 
offer 
and 
the 
amount 
of 
time 
required 
for 
a 
satisfying 
visit. 
Instead 
of 
building 
up 
expectations 
beyond 
that 
which 
the 
destination 
can 
provide, 
essential 
information 
to 
visitors 
should 
focus 
on 
the 
realistic 
rather 
than 
idealistic. 
However, 
marketing 
and 
promotion 
are 
not 
always 
necessary 
to 
attract 
significant 
numbers 
to 
screen 
sites 
and 
the 
marketing 
process 
can 
be 
by-passed 
by 
avid 
fans. 
While 
some 
fans 
care 
little 
for 
organised 
facilities 
and 
commoditization, 
some 
market 
segments 
do 
expect 
some 
degree 
of 
service 
provision, 
as 
shown 
in 
the 
case 
of 
Balamory, 
and 
it 
is 
these 
visitors 
who 
are 
harder 
to 
anticipate 
and 
cater 
for. 
 The 
data 
suggested 
that 
those 
who 
were 
more 
satisfied 
with 
their 
visits 
had 
explored 
the 
destination 
more 
widely, 
rather 
than 
simply 
viewing 
the 
filming 
location. 
As 
such, 
marketing 
campaigns 
designed 
to 
add 
to 
the 
experience 
by 
encouraging 
specific 
screen 
tourists 
to 
take 
long 
or 
short 
breaks 
would 
benefit 
both 
the 
tourist 
experience 
and 
the 
destination 
economy, 
compared 
with 
a 
high 
intensity 
of 
consumptive 
day 
visits 
as 
in 
the 
case 
of 
Balamory. 
 In 
this 
study, 
respondents 
proffered 
an 
array 
of 
suggestions 
that 
would 
have 
improved 
their 
experience, 
including 
the 
creation 
of 
Balamory-related 
features 
and 
attractions, 
such 
as 
a 
dedicated 
visitor 
centre, 
character 
look-alikes 
in 
the 
town, 
events 
and 
tours, 
more 
information, 
more 
signs 
and 
improved 
mapping 
of 
the 
coloured 
houses 
trail, 
and 
other 
themed 
activities 
for 
children. 
If 
destination 
capacities 
are 
likely 
to 
be 
exceeded 
by 
demand 
for 
screen 
tourism 
in 
the 
long 
term, 
a 
case 
might 
be 
made 
for 
timed 
and 
managed 
tours 
or 
an 
off-site 
film 
set. 
However, 
capital-intensive 
adaptations 
to 
consumer 
demand 
pose 
financial 
risks, 
as 
well 
as 
being 
unpopular 
with 
the 
local 
community 
(Connell, 
2005a; 
Riley 
et 
al., 
1998), 
as 
the 
longevity 
of 
place 
or 
screen-specific 
tourism 
themes 
cannot 
be 
guaranteed 
through 
time. 
Indeed, 
in 
the 
case 
of 
Balamory, 
the 
BBC 
announced 
in 
2005 
that, 
after 
250 
episodes, 
no 
more 
filming 
would 
take 
place 
(BBC 
Worldwide, 
2005), 
which 
injected 
doubt 
in 
the 
mind 
of 
the 
local 
community 
about 
the 
extent 
to 
which 
the 
programme 
would 
continue 
as 
a 
feature 
of 
the 
Island＊s 
tourism 
product. 
However, 
the 
research 
shows 
that 
the 
majority 
of 
respondents 
that 
wanted 
to 
see 
more 
Balamory 
themes 
did 
not 
desire 
a 
dedicated 
visitor 
centre. 


 While 
this 
research 
was 
unable 
to 
test 
actual 
repeat 
visits 
as 
a 
result 
of 
screen 
tourism, 
some 
indications 
of 
the 
likelihood 
of 
a 
return 
visit 
were 
ascertained. 
The 
proportions 
of 
potential 
return 
visits 
as 
the 
data 
indicates 
are 
quite 
high 
and 
indicates 
that 
if 
a 
destination 
visited 
mainly 
for 
screen-induced 
reasons 
has 
wider 
appeal 
that 
has 
the 
potential 
to 
draw 
visitors 
back, 
then 
screen 
tourism 
has 
worked 
as 
a 
tool 
to 
sustain 
visitor 
activity 
in 
the 
longer-term, 
creating 
a 
legacy. 
This 
is 
particularly 
the 
case 
for 
Balamory 
given 
that 
the 
programme 
is 
aimed 
at 
children, 
who 
once 
grown 
up 
may 
wish 
to 
reawaken 
pleasant 
childhood 
memories 
with 
their 
families 
by 
visiting 
once 
again, 
as 
suggested 
by 
Gitelson 
and 
Crompton 
(1984).As 
James 
et 
al. 
(1998), 
Pretes 
(1995) 
and 
Squire 
(1994) 
argue, 
the 
power 
of 
childhood 
nostalgia 
in 
adults 
can 
be 
strong. 
While 
research 
on 
adult 
propensity 
to 
re-visit 
childhood 
holiday 
destinations 
is 
limited, 
the 
legacy 
of 
Balamory 
might 
be 
to 
attract 
today＊s 
＆toddler 
tourists＊ 
back 
in 
future 
years. 
These 
issues 
are 
worthy 
of 
much 
greater 
research 
attention 
and 
clearly 
present 
future 
study 
opportunities 
in 
understanding 
both 
screen 
tourism 
and 
family 
tourism. 
Certainly, 
longitudinal 
studies 
of 
screen 
tourism 
destinations 
to 
establish 
the 
longevity 
of 
film 
and 
TV 
as 
a 
visit 
motivator 
are 
required 
to 
confirm 
or 
dispute 
these 
assertions. 
7. 
Final 
thoughts: 
screen 
tourism 
research 
It 
is 
clear 
from 
this 
study, 
and 
previous 
research, 
that 
place-
specific 
film 
and 
TV 
serve 
as 
a 
destination 
attractor, 
and 
that 
a 
fascination 
for 
visual 
consumption 
(see 
Berger, 
1972) 
stimulates 
and 
sustains 
screen 
tourism 
as 
a 
contemporary 
tourism 
phenomenon. 
To 
date, 
much 
of 
the 
work 
conducted 
on 
screen 
tourism, 
including 
this 
study, 
takes 
a 
case 
study 
approach. 
The 
consequence 
of 
this 
expanding 
body 
of 
evidence 
is 
that 
the 
impacts, 
implications 
and 
lessons 
learned 
from 
screen 
tourism 
examples 
are 
somewhat 
piecemeal 
but 
can 
be 
synthesised 
to 
form 
general 
principles 
of 
planning, 
management 
and 
marketing 
to 
assist 
in 
achieving 
a 
balanced 
and 
successful 
destination 
approach. 
One 
of 
the 
issues 
about 
screen 
tourism 
research, 
particularly 
in 
the 
long 
term 
is 
that 
gaining 
accurate 
data 
on 
repeat 
visits, 
volume 
and 
regularity, 
while 
critical 
in 
product 
monitoring 
and 
development, 
is 
difficult 
to 
ascertain. 
As 
Oppermann 
(1998) 
noted, 
without 
this 
type 
of 
information, 
it 
is 
difficult 
for 
planners 
to 
develop 
appropriate 
product 
offerings 
and 
for 
marketers 
to 
package 
and 
position 
the 
destination 
to 
appeal 
to 
repeat 
visitors. 
While 
the 
research 
presented 
in 
this 
paper 
goes 
some 
way 
to 
establishing 
the 
experiences 
of 
screen 
tourists 
and 
potential 
for 
future 
visits 
in 
one 
destination, 
further 
research 
in 
time 
and 
space 
is 
justifiable 
to 
confirm, 
dispute 
or 
develop 
these 
findings. 
Results 
from 
further 
research 
should 
assist 
in 
the 
development 
of 
best 
practice 
and 
policy 
that 
destination 
marketing 
organisations 
and 
host 
communities 
can 
implement 
if 
faced 
with 
the 
challenges 
and 
opportunities 
of 
screen-induced 
tourism. 


However, 
one 
of 
the 
obstacles 
to 
progressing 
screen 
tourism 
research 
is 
the 
major 
methodological 
issues 
in 
researching 
the 
extent 
to 
which 
a 
screen 
production 
influences 
tourism. 
Consequently, 
lack 
of 
raw 
data 
to 
justify 
investment 
and 
expenditure 
by 
local 
enterprises 
by 
public 
agencies 
remains 
a 
constraint 
in 
screen 
tourism 
as 
a 
tourism 
and 
economic 
strategy 
worth 
pursuing. 
To 
this 
end, 
much 
more 
rigorous 
longitudinal 
tracking 
of 
the 
impacts 
of 
screen 
tourism 
using 
robust 
methodology 
developed 
at 
regional 
or 
even 
national 
levels 
is 
needed. 
The 
need 
for 
methodologies 
to 



J. 
Connell, 
D. 
Meyer 
/ 
Tourism 
Management 
30 
(2009) 
194每207 
isolate, 
assess 
and 
understand 
tourism 
activity 
and 
impacts 
is 
now 
at 
a 
critical 
point 
in 
pushing 
forward 
screen 
tourism 
as 
a 
significant 
generator 
of 
tourism 
in 
local 
areas. 
With 
the 
ongoing 
interest 
in 
screen 
tourism 
across 
the 
world, 
such 
efforts 
have 
never 
been 
so 
timely. 


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