Branding the City through Cinema
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This talk highlights some examples of cities that use cinema as a branding strategy for their local identity
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Branding the City through Cinema
- 1. 1
- 2. â I m a g e i s o n e o f t h o s e t e r m s t h a t w i l l n o t g o a w a y , a t e r m w i t h v a g u e a n d s h i f t i n g m e a n i n g s â 2 Philip L. Pearce
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- 4. 4 SPECTACLE
- 5. 5 SPECTACLE
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- 13. 13 C i n e m a a f f e c t s t h e I m a g e o f t h e C i t y
- 14. C i n e m a a f f e c t s t h e I m a g e o f t h e C i t y 14 P r o m o t i n g P l a c e âs A t t r i b u t e s
- 15. C i n e m a a f f e c t s t h e I m a g e o f t h e C i t y 15 P r o m o t i n g P l a c e âs A t t r i b u t e s E l e v a t e P e o p l e âs I n v o l v e m e n t
- 16. BRANDING THE CITY THROUGH CINEMA 16 B y T a h e r A b d e l - G h a n i
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- 20. 20 $9.26 Billion
- 21. 21 37-41%
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- 24. 24 S l u m d o g M i l l i o n a i r e ( 2 0 0 8 )
- 25. 25 25%
- 26. 26 C i t y o f G o d ( 2 0 0 2 )
- 27. 27 40,000
- 28. 28 PRELUDE
- 29. 29 âTHE MEDIUM IS THE MESSAGEâ
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- 43. 43 I N F R A S T R U C T U R E C U L U R E P O L I T I S O C I A L N V I R O N M E N T P R S O N A L I T Y E X P E R I E C E I T E N T I O N R E O M M E N D A T I O N M A G E C O G N I T I O F A M I L I A R I Y V S U A L I Z A T I O N M O N U M E N T A L I Y E R C E P T I O N D S S B E H A V I O U L A N G U A G M O T I O N T T I T U D E P A T T E R P R E J U I C E A L U E P R S O N A F R E E D M I N F O R M A T O N N O V E T Y D U C A T I O N E T E R T A I N M E N T B O G E R R A I N C O M M U N I C A T I O L I T E R A T E V I D E W T H E R R E I G I O N O R M T R I T O C U S C H I C E I N T N T I O N M P A T H P P E A L N T E R P E R S O N A L I N T E R A C T I O C O M M U I T Y N F L U E N C E
- 44. 44 I N F R A S T R U C T U R E C U L U R E P O L I T I S O C I A L N V I R O N M E N T P R S O N A L I T Y E X P E R I E C E I T E N T I O N R E O M M E N D A T I O N M A G E C O G N I T I O F A M I L I A R I Y V S U A L I Z A T I O N M O N U M E N T A L I Y E R C E P T I O N D S S B E H A V I O U L A N G U A G M O T I O N T T I T U D E P A T T E R P R E J U I C E A L U E P R S O N A F R E E D M I N F O R M A T O N N O V E T Y D U C A T I O N E T E R T A I N M E N T B O G E R R A I N C O M M U N I C A T I O L I T E R A T E V I D E W T H E R R E I G I O N O R M T R I T O C U S C H I C E I N T N T I O N M P A T H P P E A L N T E R P E R S O N A L I N T E R A C T I O C O M M U I T Y N F L U E N C E
- 45. 45 I N F R A S T R U C T U R E C U L U R E P O L I T I S O C I A L N V I R O N M E N T R S O N A L I T Y E X P E R I E C E I T E N T I O N R E O M M E N D A T I O N M A G E C O G N I T I O F A M I L I A R I Y V S U A L I Z A T I O N M O N U M E N T A L I Y D S S B E H A V I O U L A N G U A G M O T I O N T T I T U D E P A T T E R P R E J U I C E A L U E P R S O N A F R E E D M I N F O R M A T O N N O V E T Y D U C A T I O N E T E R T A I N M E N T B O G E R R A I N C O M M U N I C A T I O L I T E R A T E V I D E W T H E R R E I G I O N O R M T R I T O C U S C H I C E I N T N T I O N M P A T H P P E A L N T E R P E R S O N A L I N T E R A C T I O C O M M U I T Y N F L U E N C E PERCEPTION
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- 52. 52 â P l a c e s a r e c h o s e n t o b e g a z e d u p o n b e c a u s e t h e r e i s a n t i c i p a t i o n ⊠â John Urry
- 54. 54 C O N S T R U C T I V I T Y V S O B J E C T I V I T Y
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- 62. 62 V i s i t a t i o n R e a l i s t i c I m a g e s
- 63. R e a l i s t i c I m a g e s V i s i t a t i o n 63 VICARIO US EXPERIENCE
- 64. R e a l i s t i c I m a g e s V i s i t a t i o n 64 VICARIO US EXPERIENCE
- 66. 66 EX P E R E N T I A L EM O T I O N IN F E R E N C E
- 67. 67 FAMILIARITY
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- 69. 69 5 0 0 D a y s o f S u m m e r ( 2 0 0 9 )
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- 71. 71 I n c e p t i o n ( 2 0 1 0 )
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- 74. 74 A m Ă© l i e ( 2 0 0 1 )
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- 77. 77 O n c e U p o n a Ti m e i n A m e r i c a ( 1 9 8 4 )
- 78. 78 M o r e F a m i l i a r
- 79. 79 M o r e F a m i l i a r = M o r e K n o w l e d g e
- 80. 80 M o r e F a m i l i a r = M o r e K n o w l e d g e = M o r e S e c u r e
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Hinweis der Redaktion
- Good morning. Our talk today is mainly about one word âThe Imageâ. And there is a better word, âThe Imageryâ, which is the visually descriptiveâŠor figurative language. This word, literally, exists everywhere. All around us. Representation. Itâs the foundation of our species being and the narratives of history. And it has endless dimensionsâŠ
- Just as Philip Pearce said in his book âThe Ulysses Factorâ⊠(Read the quote from the slide). In the tourist literature, it has been linked to advertising, consumerism, attitudes, memories, cognitive maps and expectations. And in some casesâŠ
- The image is considered to be âAnti-Realityâ. Or in other words, âPerceptionâ. LayersâŠ
- Narrative layers. Every day we are surrounded by the everyday. Stories, history, society, language, visuals, elements, fragments, etc.âŠEverything that makes up the whole picture.
- And eventually we become subjects/victims of it. Products. We gaze, and at the same time being gazed at.
- And this is how cities behave in a way in the post-modern era. They strive to create what appeals to us. They compete for the best products, the best image.
- And because the environment and social and political conditions are changing very quickly, marketing tools are changing as well. Introduce the contemporary, the unordinary, to what we can relate to. To elevate our perception. Give it some edge.
- And of course, no problem with a bit of dirty politics in the processâŠ.
- By then, cities attempt to redefine its potential and resources. Somehow changing the way we see them. Making them more attractive.
- Promoting desired and most loved attributes of the city to publicize the positive image of the city. Cities depend on citizenâs memory and emotions to captivate their attention. Their goals, motivation, and most importantly, which is the foundation of our talk todayâŠ.
- Their involvement level. Involvement with the product through the screen. The film industry, though itâs not new, has become an integral part of advertising the image of a city.
- And cities now encompass a combination force between filmmakers and marketers. City marketers have developed time to creating images and using films to target certain consumers who will respond in the desired way.
- So, we have the main hypothesis/issueâŠcinema affects the image of the cityâŠHOW?
- By promoting placeâs elements/attributes/potentialâŠHOW?
- By elevating peopleâs involvement in the product, and captivating their attention. HOW?
- This is what weâre going to explore todayâŠHow we brand the city using film as a tool. As our medium. What Iâm going to do starting at this point is that Iâll give a few cases intertwined with some background and theory. So case studies will be every check point.
- So, let me first show you this 1 minute clip (Show the clip)âŠ.I guess you know the source of this ad, right?
- Exactly, Lord of the Rings. Now this movie made New Zealand a tangible destination for cinema-goers, as fans of the films, wanted to touch and feel âDestination New Zealandâ. Rich in nature and a pleasant atmosphere due to its small population and low pollution. They were able to develop its âPure ValuesââŠ
- This is one of the worldâs most admirable place branding efforts. And how did this affect the nation?
- It is estimated that as many as a BILLION view coverage of the brand in 2008 â 2009 in broadcast, online and print media. And also employed over 188,000 people by the end of March 2016
- Additionally, there was a significant increase in visitor percentage since 2010. Before there was a decrease due to the global financial crisis.
- Now letâs check their intro video (Show clip). 100% Pure New Zealand is not just a touristic campaign, but in my opinion is an environmental campaign as well, aimed to appreciate the environment and nature in New Zealand. The identity and local knowledge. New Zealand has been labeled aâŠ
- A Destination Image. Itâs a research topic in the tourism academic literature. When traveling, consumers have a wide range of choices for available destinations, and the images of these destinations play an important role in the purchase decision. Like for exampleâŠ
- Slumdog Millionaire. Anybody hasnât seen it? Now the success of this movie has shed light on informal settlements there. There created the slum tourism, Mumbaiâs Dharavi slum.
- RTT, or reality tours and travel. Itâs a slum touristic company⊠The area witnessed a 25% rise in business after the release of the film.
- Same thing about City of God. Depicts the slums in Brazil, especially the very famous one Rocinha.
- It receive over 40,000 visitors a year. And it became very famous, as other slums in Brazil, during the world cup and Olympics.
- Are you digesting so far? Good, because we havenât started yet..!!! Iâll give a bit of background and theory.
- Our talk is basically about the medium. What kind of tool weâre using? The media theorist Marshall McLuhan came up with this statement in his book âUnderstanding Media: The Extensions of Manâ to say simply: It is the medium, not only the content it carries, that is important. And also the characteristics of the medium itself.
- The medium creates the imagery and awareness of the advertised brand. If the product passes within a captivating spectacle, then WE ALL GAZE, even if the product doesnât carry a strong message. And what McLuhan eventually tried to say is that the visuals are more effective than the content carried by the medium.
- And thatâs actually how the early cinema started and what it depended on. Filmmakers relied on the ability to show rather than to tell. The image projected on the screen represented a visual reality rather than a story being narrated.
- And in some studies, they called it the cinema of attractions, because it directly attracts the spectator attention. Ignites visual curiosity. Supplies pleasure through an exciting spectacle. The theatrical display, thatâs how the famous director Sergei Eisenstein called it, dominated over narrative absorption. It emphasized the direct stimulation of shock and surprise. At the expense of unfolding a story.
- It was a visually informative medium. At that time, they presented newsreels in their raw format, and this is considered to be the very early formation of advertising a product/news. It is called the narrative cinema, and it gave voice to silent screen and presented current affairs to the audience with images organized in a story format. Something like British Pathe
- Take a look at this clip. Itâs from the American â Spanish War. Notice the idea here of the medium. There is no story, but just a series of events. By the way this footage was shot by Thomas Edison who dominated the film industry, abusively.
- So there has been a pragmatic shift in how societyâs current affairs were represented by cinema through motion pictures. Which actually sparked some debates. Cinema has become an integral part of our lives. Showing and reflecting on our political, social and economic environment. A new way of thinking.
- And the way itâs done can be taken in more than one formâŠ
- It can be the traditional qualities of a country. Like the Hula dancers in Hawaii.
- Which is represented in some cartoons like Moana or Lilo and StitchâŠ
- And later commercially abused by Nicole Kidman and Jennifer AnistonâŠ.
- It can be set within a fictional storylineâŠLord of the Rings..
- Or it can be a docu-drama of. A reenactment of an eventâŠDo you know where is this one? Which movie?
- 127 Hours. It actually rose to fame after the real incident in 2003.
- Eventually narrative tools are composed of so many particles/aspects/fragments. Despite all being intertwinedâŠI want to shed light on this wordâŠ
- Perception. Maybe itâs a bit small, we can make it biggerâŠ
- There. Cinema is good at this. It has the ability to cognitively alter images of a place, developing a familiarity that tends to increase the interest of the viewers. HOW?
- When we explained the destination image and said it is the consumers and their purchase decision based on the images of the destination. These images are constructed through different factorsâŠlike empathy, appeal, interaction, social influence, etc.âŠthere are a lot.
- And these images are going everyday through a process of formation and re-formation, i.e. globalization, and are using media to provide substantial information to the audience. OR as they are calledâŠ
- Contemporary Tourists. Ones who have, not just gazed at the product, but are now, something called, âVicariously involvedâ. Vicariously meaning that they emotionally respond to what they see, as if they are part of the process. And the âWhere to Buyâ is not just the commercial consumption behavior, but also refers to âPurchasing the imageâ. So now the entertainment industry alters societal behavior.
- And this is what popular culture does. It penetrates our everyday life. Becomes part of our daily pattern. It conveys widely accepted values. It reflects patterns of communication and consumption for a mass audience. And this happens through what was mentioned yesterday in one of the presentationsâŠ
- The Organic Images. Sources that are not directly associated with tourism interests, such as newspaper reports and moviesâŠother scientists call it, which what I prefer..
- The Autonomous Agent. So because news and popular culture products are so embedded in our everyday life, they tend to have high market penetrations. Market uses these portrayals of places in news and popular culture to alter an areaâs image dramatically, in a short time. And motion pictures, cinema, are probably the most important element of popular culture, and there has been high accessibility and credibility of movies, videos and T.V. They have beaten print media.
- All of this has caused what John Urry calls THE GAZE, which he mentioned in his book The Tourist Gaze. Meaning products being looked at. And he says that places are chosen to be gazed upon because there is an anticipation, constructed through film, T.V., literature and so on. And there are studies that highlight the penetration of media in public spaces, for example street cinema. This can be discussed in another lectureâŠ
- The motion picture viewing expanded, and so too their influence on place images. One terminology called âThe circuit of cultureâ says that language, with all its layers, visual or text, provides representations that produce meaning. So we now have another scientific name âRepresentationâ, and thatâs a whole level of complexity. MeaningâŠ
- That the constructed reality, reality that we build, becomes more dominant than objective reality, or the truth. Of course some people here may believe that there is no objective truth, everything is a subjective. I sense that there are mini Immanuel Kant and Rene Descartes inside of you, but we can leave that for laterâŠor else you wonât have lunchâŠor even dinner.
- The positive thing about constructed reality is that it helped some touristic campaigns to use films to increase awareness about some destinations, and this case study is a good exampleâŠ
- Take a Look. I guess you know this one.
- Braveheart. The 20th anniversary day, 2015, there was a screening in the Stirling area to promote awareness about the place.
- The movie resulted in more than 1 million visits to the Wallace Monument and the Stirling area. A survey was conducted by the Scottish Tourist Board, and 35% of the people said that the movie was the main reason.
- In this last section I want to explain the process underlying the previous slides. Remember when I told you about contemporary tourists that they become emotionally involved with the product being shown on the screen? This is what Vicarious means. Vicarious and empathy are very similar, maybe an exception in 2 things: first the English language structure, one is noun and the other is adjective, and second, the scale. Empathy is more individualistic while the other can be remote/virtual. But for the time being, so as not to be turn it into an English class, they are very similar. This section is divided into 3 parts: the cognitive vs the affective, the vicarious experience and the most fun part, familiarity.
- From the definition, cognitive means the evaluation of the known attributes of the object and the latter refers to the subjective feelings about the object. But in reality, it doesnât really occur like thisâŠ
- They are inseparable. Or actually one comes after the other. Information about a certain environment is first interpreted and made meaningful cognitively, then used to categorize the internal emotional state. So it is more of a metamorphosis process, cognition transforms into affection. And it is the affective aspect that is more important, especially when place becomes an object of choice. It affects the decision making process. Highlights the tangible quality of the area.
- Moving to the second aspect. This is more related to the concept of vicarious experience. Most researchers think that people can experience a destination through actual visitation, which makes up a realistic image. Itâs true yes, butâŠ
- Cinematic literature includes people can experience a place vicariously by identifying with the characters. A film actually provides viewers a perceptual hallucination through vision and sound reproducing systems.
- Thus, when visiting a place that had a very noticeable character, spectators identify themselves with the film characters. They are part of the scene just as the characters are.
- And usually the tools that engage the viewersâ empathy are: The Plot, The Character and Fundamental Elements of Drama (e.g. music, camera angle, etc.).
- And, just like the idea of advertising research, there are 3 ways that advertising dramas persuade viewers: Experiential, immersing them in the experience, Emotion, engendering empathic emotional responses, and stimulating inference. Inference means using the available data/collection of information to make up a logical conclusion.
- Angelâs Knoll Park in Downtown L.A.
- Café Des Deux Moulins in Paris
- Café Des Deux Moulins in Paris
- Manhattan Bridge
- So what have we done here was that we familiarized ourselves with places and attractionsâŠthatâs because we have been exposed to them for so long,
- Which led us to collect information about the destinations themselvesâŠthey have more knowledge about holiday opportunitiesâŠwhich also led us toâŠ
- Lowering the anxiety levels caused by anticipated risk. A feeling of security and comfort, which can lead to increased confidence in destination choice and an actual vacation less threatening and more comfortable.