標(biāo)題: Titlebook: Audiovisual Tourism Promotion; A Critical Overview Diego Bonelli,Alfio Leotta Book 2021 The Editor(s) (if applicable) and The Author(s), un [打印本頁(yè)] 作者: Indigent 時(shí)間: 2025-3-21 18:28
書(shū)目名稱(chēng)Audiovisual Tourism Promotion影響因子(影響力)
作者: white-matter 時(shí)間: 2025-3-21 22:30
Australian Tourism Film 1926–1975: Promoting Australia in the Age of Government-Led Film Productionshment of the Australian National Film Board to produce documentaries and educational programmes. In 1956, the Board was renamed the Australian Commonwealth Film Unit and, in 1973, the Unit became Film Australia. In Australia a significant segment of this government-led film production revolved arou作者: modifier 時(shí)間: 2025-3-22 02:21 作者: Audiometry 時(shí)間: 2025-3-22 05:53 作者: 鳥(niǎo)籠 時(shí)間: 2025-3-22 10:06
Digital Content Creation and Storytelling at the Time of COVID-19: Tourism Ireland’s Online Film websites or social media. By applying a digital marketing professional perspective, grounded in destination branding and social semiotic multimodality, the present chapter seeks to shed further light on the ways and means destinations use to generate an “emotional connection that creates a profound 作者: Cacophonous 時(shí)間: 2025-3-22 14:24 作者: Angioplasty 時(shí)間: 2025-3-22 17:10
Fabulous Locations: Tourism and Fantasy Films in Italyy have been used for tourism promotion. These include American movies belonging to worldly famous franchises, but also Italian (co-)productions such as . . (2014) by Gabriele Salvatores and . (2015) by Matteo Garrone. These two films, counting on large budgets, raised high expectations of their pote作者: embolus 時(shí)間: 2025-3-22 21:35 作者: VALID 時(shí)間: 2025-3-23 02:59
A ‘White’ Country for ‘White’ People: Poland in Tourism Promotional Videos of Regions and Metropolitf-government units. After 2016, the EU no longer financed tourism promotion. This chapter will focus on 16 regions (.) and 12 large cities associated with the Union of Polish Metropolises; the so-called . is a ‘basic product’ in the Polish tourism offer, which is why tourism promotion of cities has 作者: refraction 時(shí)間: 2025-3-23 07:39 作者: surmount 時(shí)間: 2025-3-23 11:25
https://doi.org/10.1007/978-3-658-13311-5ival of the tourism industry (Morgan and Pritchard 1998; Urry 2002; Govers et al. 2007; McCabe 2010), relatively little attention has been devoted to the analysis of both the aesthetic characteristics of tourism TV commercials (TVCs) and the contexts of their production and circulation (Pan et al. 2作者: 允許 時(shí)間: 2025-3-23 16:43 作者: 退潮 時(shí)間: 2025-3-23 18:43
https://doi.org/10.1007/978-3-319-95213-0hasising the role of airlines in globalised cultural networks which, unmoored from historical experiences, allow for multiple identities in relation to multiple constructions of place. Air New Zealand is a local example of the global construction of airlines as bounded spaces inscribed through promo作者: CHAR 時(shí)間: 2025-3-23 23:59 作者: incite 時(shí)間: 2025-3-24 02:51 作者: FUSC 時(shí)間: 2025-3-24 08:16 作者: ALE 時(shí)間: 2025-3-24 14:43 作者: 侵略者 時(shí)間: 2025-3-24 15:12
https://doi.org/10.1007/978-1-349-19386-8visit the media-related destination..The proposed model expands on the current understanding of media-induced tourism by exploring the interplay between both the sense of presence and nostalgia evoked by playing video games, and the individuals’ imagination proclivity. It posits that being in a virt作者: fastness 時(shí)間: 2025-3-24 22:58 作者: GROWL 時(shí)間: 2025-3-25 03:08 作者: 初次登臺(tái) 時(shí)間: 2025-3-25 05:49 作者: 我吃花盤(pán)旋 時(shí)間: 2025-3-25 10:30 作者: 起草 時(shí)間: 2025-3-25 14:22
Colourful Scenery, Colourful Language: Representing White Australia in the ‘Where the Bloody Hell ar outdated race and gender representations, and the long-standing cultural impact of the ‘Where the Bloody Hell Are You’ advertisement, which was considered successful in gaining international attention, but unsuccessful in attracting tourists to Australia.作者: 教義 時(shí)間: 2025-3-25 17:54
ions performed by a vast array of diverse media texts.Offers.This book deploys the concept of ‘a(chǎn)udiovisual tourism promotion’ to account for the promotional functions performed by a vast array of diverse media texts including tourism films, feature films, digital videos conceived for online circulat作者: PET-scan 時(shí)間: 2025-3-25 23:47
Book 2021texts including tourism films, feature films, digital videos conceived for online circulation, video games and TV commercials. From this point of view, this volume fills a major gap in the literature by providing the first comprehensive critical overview of audiovisual tourism promotion as a distinc作者: 表狀態(tài) 時(shí)間: 2025-3-26 03:37
Effects of Language Policies on Attitudes, It will stress how films by outsiders familiar with popular representations resemble the imagery of professional media in many respects, without articulating the simplistic narratives of publicity material but sharing some of the wider aspirations of cultural discourses in circulation.作者: 娘娘腔 時(shí)間: 2025-3-26 08:10 作者: 令人心醉 時(shí)間: 2025-3-26 09:46
Book 2021t media field. In this book, the study of audiovisual tourism promotion is characterised by an interdisciplinary approach which combines film studies, media studies, human geography, sociology, tourism studies, history, postcolonial and gender studies. This book will appeal to a wide range of students and scholars from different disciplines..作者: 榮幸 時(shí)間: 2025-3-26 13:25
Introduction,cCannell argues that mass media boost the appeal of tourism destinations by influencing the way in which they are represented and perceived (1999). Similarly, John Urry claims that tourism practices are intrinsically associated with visual consumption, particularly with the commodification of images作者: 誓言 時(shí)間: 2025-3-26 20:07
Australian Tourism Film 1926–1975: Promoting Australia in the Age of Government-Led Film Productionord either to neglect the projection of its national personality or to resign its projection to others.” (1932, 11) Tallents’s attention to national visibility and to the manufacturing of a specific, well-recognisable national character, as well as his focus on the production of educational, promoti作者: scotoma 時(shí)間: 2025-3-26 22:03 作者: microscopic 時(shí)間: 2025-3-27 02:47
The Promotion of Tourism on Radio Wavesan important vehicle for information and communication and may positively or negatively influence the image that the potential consumer has of a tourist destination or service. In recent years, new media have gained significant prominence in terms of increasing use by consumers and tourism organizat作者: limber 時(shí)間: 2025-3-27 08:29
Digital Content Creation and Storytelling at the Time of COVID-19: Tourism Ireland’s Online Film eans of meaning-making channelled through various digital media, videos are crucial in the creation and dissemination of compelling and meaningful stories about destinations and their values. Due to its affective power, and because it offers users the opportunity to tour the destination virtually, a作者: 擁護(hù)者 時(shí)間: 2025-3-27 11:15
Virtual Tourism in the Age of COVID-19: A Case Study of the Faroe Islands’ ‘Remote Tourism’ Campaignsuch as Virtual Reality (VR). Recently, a number of scholars have pointed out how technological advances in the field of VR can provide tourists with both a ‘taste’ of the tourism experience and a set of rich and trustworthy information (Rainoldi et al. .; Beck et al. .). From this point of view, VR作者: 抵押貸款 時(shí)間: 2025-3-27 17:35
Fabulous Locations: Tourism and Fantasy Films in Italyed examples such as . (2001–2003) in New Zealand, . (2001–2011) in Great Britain, and . (2011–2019), filmed across several European countries, belong to the fantasy genre. This particular genre, with its often imaginary settings and reliance on digital effects that sometimes deeply affect the repres作者: 參考書(shū)目 時(shí)間: 2025-3-27 20:32 作者: dry-eye 時(shí)間: 2025-3-28 00:23
Screen Tourism on the Smartphone: A Typology and Critical Evaluation of the First Decade of Smart Scnging from digital versions of printed maps to the locative and virtual screen?tourism experiences enabled by ubiquitous mobile data. It develops a typology of screen tourism apps based on a mixed-methods approach, including case studies of screen?tourism activities related to European Noir crime st作者: folliculitis 時(shí)間: 2025-3-28 05:56 作者: 商品 時(shí)間: 2025-3-28 09:22 作者: lymphedema 時(shí)間: 2025-3-28 14:03
Colourful Scenery, Colourful Language: Representing White Australia in the ‘Where the Bloody Hell arphy such as the outback, white sand beaches, kangaroos, Indigenous dancers, Uluru, and the Sydney Harbour Bridge. The picturesque landscape images of Australia also featured ‘everyday’ Australians including a young blonde, bikini-clad woman who, at the end of the visual montage, addresses the camera作者: 過(guò)渡時(shí)期 時(shí)間: 2025-3-28 14:35 作者: 冷漠 時(shí)間: 2025-3-28 21:11
http://image.papertrans.cn/b/image/164989.jpg作者: 本土 時(shí)間: 2025-3-28 23:46 作者: defenses 時(shí)間: 2025-3-29 04:00
Militarization and Gender in Israelord either to neglect the projection of its national personality or to resign its projection to others.” (1932, 11) Tallents’s attention to national visibility and to the manufacturing of a specific, well-recognisable national character, as well as his focus on the production of educational, promoti作者: 澄清 時(shí)間: 2025-3-29 09:01 作者: 消毒 時(shí)間: 2025-3-29 15:01
Militarization and Gender in Israelan important vehicle for information and communication and may positively or negatively influence the image that the potential consumer has of a tourist destination or service. In recent years, new media have gained significant prominence in terms of increasing use by consumers and tourism organizat作者: Intend 時(shí)間: 2025-3-29 16:38
Renée DePalma,Antía Pérez-Caraméseans of meaning-making channelled through various digital media, videos are crucial in the creation and dissemination of compelling and meaningful stories about destinations and their values. Due to its affective power, and because it offers users the opportunity to tour the destination virtually, a作者: Sarcoma 時(shí)間: 2025-3-29 21:15
