International Journal For Multidisciplinary Research

E-ISSN: 2582-2160   •   Impact Factor: 9.24

A Widely Indexed Open Access Peer Reviewed Multidisciplinary Bi-monthly Scholarly International Journal

Call for Paper Volume 8, Issue 1 (January-February 2026) Submit your research before last 3 days of February to publish your research paper in the issue of January-February.
Submit Research Paper Join as a Reviewer

Plagiarism is checked by the leading plagiarism checker TurnItIn

Call for Paper

Volume 8 Issue 1
January-February 2026

Submit your research paper

Indexing Partners
Academia Advanced Sciences Index Bielefeld Academic Search Engine CiteSeer DRJI Google Scholar Independent Search Engine & Directory Network ISI (International Scientific Indexing) Issuu Mendeley Research Networks
RefSeek ResearcherId - Thomson Reuters ResearchGate Scirus Scribd Semantic Scholar UTeM - Universiti Teknikal Malaysia Melaka Wiki for Call for Papers WorldCat Zenodo

Cinematic Landscape and destination branding in Tourism Industry

Author(s) Mr. Supratik De, Mr. Sanjit Cletus Gomes, Mr. Soham Sur
Country India
Abstract Film landscape, as a remarkable phenomenon at the boundary of cinema and tourism, is the best illustration of the use of film-intermediated images of locales as successful marketing agents for tourism destinations. Cinema was a carrier of culture-influencing outlook, perception, and vacation destination decision-making amid an era of extensive digital connectivity, globalization, and the experience economy. This abstract discusses how film landscapes construct visual narratives, emotional attachments, and cultural imaginations in an attempt to sell places as desirable tourist sites. It also discusses how they function in destination branding. It cautions us against the paradoxes, possibilities, and challenges of using cinema in destination branding.
Cinematic landscapes are not only actual locations but symbolic worlds created through the storytelling potential of the medium. Cinematic landscapes become multivalent, combining the actual with invented or constructed characters and locations. When a movie is set in a mountain range or forested terrain, or in an aged urban landscape, cultural values, sentiment, and aesthetics of the milieu become focal points. In order to be a standout in the highly competitive tourist market, this transformation is necessary for destination marketing. Cinematic portrayal, as opposed to other traditional advertising means, does not explicitly "sell" a place but instead integrates it into narratives of romance, adventure, heroism, or cultural conflict. Scholars refer to the effect that happens when audiences unconsciously develop emotional attachment to the landscapes portrayed in movies as "film-induced tourism."
Authenticity and creativity are the pillars of destination branding through cinema landscapes. Tourist attractions are presented in richer, real, or even mythical words by films than official tourism's constructed, promotional language. Millions of tourists, for instance, went looking for the actual landscapes and the mythical Middle-earth after the release of The Lord of the Rings films, making New Zealand become a mythical location. As Eat Pray Love established Bali as a tourist destination for spiritual renewal and self-exploration, so did the movie provide a tourism lift to the beaches and temples of the island. These instances illustrate how movie worlds become "experiential branding tools" marketing locales as something more than places; they are emotionally rich, aesthetically beautiful, and narrative experiences.
Destinations can reach a global audience at scale and price that conventional marketing campaigns cannot match with the forces of trailers, streaming services, and fanbases. Tourist boards routinely employ cinematic imagery in promoting their destinations because global audiences get exposed to landscapes unfamiliar to them yet worth seeing. Film makers and destination marketing organisations (DMOs) also collude to promote well-known landmarks, offer incentives for movie shoots, and later rebrand the sites as cinema heritage destinations. We can here observe a mutually enriching relationship in action: actual landscapes get films their authenticity and visual appeal, and places gain cinema depiction in terms of visibility, narrative identity, and aspirational value.
Keywords Cinematic Landscape, Destination Branding, Film-Induced Tourism, Media Representation, Place Identity, Experiential Tourism
Published In Volume 8, Issue 1, January-February 2026
Published On 2026-01-30
DOI https://doi.org/10.36948/ijfmr.2026.v08i01.67407
Short DOI https://doi.org/hbmv6t
View / Download PDF File

Share this



E-ISSN 2582-2160
CrossRef

CrossRef DOI is assigned to each research paper published in our journal.

IJFMR DOI prefix is
10.36948/ijfmr

Downloads
Research Paper Format Copyright Permission Form and Undertaking Form Cover Page Vol 8 Isu 1Cover Page Vol 7 Isu 6Cover Page Vol 7 Isu 5

All research papers published on this website are licensed under Creative Commons Attribution-ShareAlike 4.0 International License, and all rights belong to their respective authors/researchers.

CC-BY-SA Open Access

About IJFMR
Fees & Payment
Current Issue
Publication Archive 		Submit Research Paper
Track Submission Status
Publication Guidelines
Publication Ethics
Peer Review & Plagiarism 		Join as a Reviewer
Editors & Reviewers
Reviewer Referral Program
Get Reviewer Membership Certi. 		Website/Journal Policies
Usage Policy
Content Policies
Privacy Policy
Contact Us +91-9687-828-838 editor@ijfmr.com