Bibliographie
Agarwal, Sheela and Gareth Shaw. Heritage, Screen and Literary Tourism. Bristol-Blue Ridge Summit: Channel View, 2018.
Bakiewicz, Justyna et al., “Management challenges at film-induced tourism heritage attractions”, Tourism Planning & Development 14, (2017), 548-566.
Balicco, Daniele, Filippo La Porta, and Andrea Minuz. “Paolo Sorrentino, La grande bellezza (2013)” Allegoria 68, (July-December 2013): 205-220.
Beeton, Sue. Film-induced tourism. Clevedon: Channel View, 2005.
Beeton, Sue. “The advance of film tourism”, Tourism and Hospitality Planning&Development 1, (February 2010), 1-6.
Buchmann, Anne, Kevin Moore, and David Fisher, “Experiencing Film Tourism. Authenticity & Fellowhsip”, Annals of Tourism Research 37, (2010), 229-248.
Connell, Joanne. “Film Tourism-Evolution, progress and prospects”, Tourism Management 33, (2012), 1007-1029.
Cooke, Paul and Rob Stone eds. Screening European Heritage. Creating and Consuming History on Film. London: Palgrave Macmillan, 2016.
Couldry, Nick. The Place of Media Power. Pilgrims and Witnesses of the Media Age. Abingdon-New York: Routledge, 2000.
Crespi, Alberto. “Roma, il Grand Tour anche in 500”, Bianco e nero 578, (January-April 2014), 28-32.
Crouch, David, Rhona Jackson, and Felix Thompson eds. The Media and the Tourist Imagination. Converging Cultures. Abingdon-New York: Routledge, 2005.
Cucco, Marco and Giuseppe Richeri, Il mercato delle location cinematografiche. Venezia: Marsilio, 2013.
Cucco, Marco. “Che cosa è un film? La grande bellezza in una prospettiva di economia e politica dei media.” In: La trama dei media. Stato, imprese, pubblico nella società dell’informazione, edited by Marco Cucco, 101-119. Roma: Carocci, 2014
D’Angelo, Paolo. “Geofilmica, ovvero: che cosa può fare il cinema per il paesaggio?”, Fata Morgana 6, (September-December 2008), 25-42.
D’Orazio, Costantino. La Roma Segreta del film La Grande Bellezza. Segrate: Sperling&Kupfer, 2014.
Di Cesare, Francesco and Gloria Rech. Le produzioni cinematografiche, il turismo, il territorio. Roma: Carocci, 2007.
Fadda, Michele and Damiano Garofalo. “The distribution of contemporary Italian Cinema in the United States: the films of Luca Guadagnino and Paolo Sorrentino.” Comunicazioni Sociali 3, (September-December 2018): 369-383.
Galt, Rosalind. “Italy’s landscapes of loss: historical mourning and the dialectical image in Cinema Paradiso, Mediterraneo and Il Postino.” Screen 2, (Summer 2002): 158-173.
Garofalo, Damiano. “La grande bellezza (P. Sorrentino, 2013)”, in Cinema made in Italy. la circolazione internazionale dell’audiovisivo italiano, ed. Massimo Scaglioni (Roma: Carocci, 2020), 195-201.
Gazzano, Marco Maria, Stefania Parigi, and Vito Zagarrio eds. Territori del cinema italiano: produzione, diffusione, alfabetizzazione. Udine: Forum, 2013.
Genette, Gérard. Soglie. I dintorni del testo. Torino: Einaudi, 1989.
Gundle, Stephen. “Hollywood Glamour and Mass Consumption in Postwar Italy.” Journal of Cold War Studies 3, (Summer 2002): 95-118.
Gunning, Tom. “The Cinema of Attractions: Early Film, its Spectator and the Avant-Garde.” In: Early Cinema: Space – Frame – Narrative, edited by Thomas Elsaesser and Adam Barker, 56-62. London: British Film Institute, 1990.
Higson, Andrew. “Re-presenting the national past: Nostalgia and pastiche in the heritage film.” In: Fires were started: British cinema and Thatcherism, edited by Lester Friedman, 109-129. Minneapolis: University of Minnesota Press, 1993.
Higson, Andrew. English Heritage, English Cinema. Costume Drama Since 1980. Oxford: Oxford University Press, 2003.
Hom, Stephanie Malia Hom. The Beautiful Country. Tourism & the Impossible State of Destination Italy. Toronto-Buffalo-London: University of Toronto Press, 2015.
Karpovich, Angelina. “Theoretical approaches to film-motivated tourism”, Tourism and Hospitality Planning&Development 1, (February 2010), 7-20.
Kim, Sangkyun. “Audience involvement and film tourism experiences: Emotional places, emotional experiences”, Tourism Management 33, (2012), 387–396.
Lavarone, Giulia. Cinema, media e turismo. Esperienze e prospettive teoriche del film-induced tourism. Padova: Padova University Press, 2016.
Lavarone, Giulia. “Cinematic tourism in a time of media convergence: a spatial framework”, in The Routledge Companion to Media and Tourism, ed. Maria Månsson et al. (Abingdon-New York: Routledge, 2020), 35-43.
Lee, Christina. “‘Have Magic, Will Travel’: Tourism and Harry Potter’s United (Magical) Kingdom”, Tourist Studies 12, (2012), 52-69
Leotta, Alfio. Touring the Screen: Tourism and New Zealand Film Geographies (Bristol: Intellect, 2011).
Mancino, Anton Giulio. “Roma: this must be the (product) place(ment).” Cineforum 526, (July 2013): 7-9.
Martin-Jones, David. “Film tourism as heritage tourism: Scotland, diaspora and The Da Vinci Code (2006)”, New Review of Film and Television Studies 12, (2014),156-177.
Masoni, Tullio. “Roma in cartolina.” Cineforum 526, (July 2013): 10-11.
O’Leary, Alan. “Towards World Heritage Cinema (Starting from the Negative).” In Screening European Heritage. Creating and Consuming History on Film, edited by Paul Cooke and Rob Stone, 63-84. London: Palgrave Macmillan, 2016.
Roberts, Les. “Projecting Place: Location Mapping, Consumption, and Cinematographic Tourism.” In The City and the Moving Image: Urban Projections, edited by Richard Koeck and Les Roberts, 183-204. London-New York: Palgrave Macmillan, 2010.
Roberts Les. Film, Mobility and Urban Space. A Cinematic Geography of Liverpool. Liverpool: Liverpool University Press, 2012.
Reijnders, Stijn. Places of the Imagination. Media, Tourism, Culture. Furnham-Burlington: Ashgate, 2011.
Roesch, Stefan. The Experiences of Film Location Tourists. Clevedon: Channel View, 2009
Sbragia, Albert. “The Spectacular Commodification of Rome in Paolo Sorrentino’s La grande bellezza”, The Italianist 40, (2020), 276-295.
Schofield, Peter. “Cinematographic images of a city. Alternative heritage tourism in Manchester.” Tourism Management 5, (August 1996): 333-340.
Torchin, Leshu. “Location, location, location. The destination of the Manhattan TV tour”, Tourist Studies 2, (2002), 247-266.
Tzanelli, Rodanthi. The Cinematic Tourist. Explorations in Globalization, Culture and Resistance. Abingdon-New York: Routledge, 2007.
Tzanelli, Rodanthi. “Game of Thrones to game of sites/sights: framing events through cinematic transformations in Northern Ireland.” In Event Mobilities: Politics, Place and Performance, edited by Kevin Hannam, Mary Mostafanezhad, and Jillian Rickly, 52-67. Abingdon- New York: Routledge, 2016.
Urry, John and Jonas Larsen. The Tourist Gaze 3.0. London-Thousand Oaks-New Delhi-Singapore: SAGE, 2011.
Winter, Tim. “Angkor Meets Tomb Raider: setting the scene”, International Journal of Heritage Studies 8, (2002), 323-336.
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Notes
John Urry and Jonas Larsen, The Tourist Gaze 3.0 (London-Thousand Oaks-New Delhi-Singapore: SAGE, 2011), 116.
Rodanthi Tzanelli, The Cinematic Tourist. Explorations in Globalization, Culture and Resistance (Abingdon-New York: Routledge, 2007), 9.
I would like to thank the organizers of the international conference Made in Italy. La circolazione internazionale dell’audiovisivo italiano come prodotto culturale (University of Bologna, June 19-20, 2018), which provided the chance of elaborating the first results of this research.
The only exception is a brief text by Alberto Crespi, who just mentions one Great Beauty movie tour offered by a private operator, as well as the book authored by Costantino D’Orazio later discussed: Alberto Crespi, “Roma, il Grand Tour anche in 500”, Bianco e nero 578, (January/April 2014), 28-32.
On the development of interdisciplinary research about film tourism, see: Sue Beeton, “The advance of film tourism”, and Angelina Karpovich, “Theoretical approaches to film-motivated tourism”, Tourism and Hospitality Planning&Development 1, (2010), 1-20; Joanne Connell, “Film Tourism-Evolution, progress and prospects”, Tourism Management 33, (2012), 1007-1029. As regards the other terms mentioned in the text beside “film tourism”, see for example: Sue Beeton, Film-induced tourism Clevedon: Channel View, 2005); Stijn Reijnders, Places of the Imagination. Media, Tourism, Culture (Furnham-Burlington: Ashgate, 2011); Sheela Agarwal and Gareth Shaw, Heritage, Screen and Literary Tourism (Bristol-Blue Ridge Summit: Channel View, 2018); Nick Couldry, The Place of Media Power. Pilgrims and Witnesses of the Media Age (Abingdon-New York: Routledge, 2000).
See, among others: Stefan Roesch, The Experiences of Film Location Tourists (Bristol-Buffalo-Toronto: Channel View, 2009); Anne Buchmann, Kevin Moore, and David Fisher, “Experiencing Film Tourism. Authenticity & Fellowhsip”, Annals of Tourism Research 37, (2010), 229-248; Reijnders, Places of Imagination; Sangkyun Kim, “Audience involvement and film tourism experiences: Emotional places, emotional experiences”, Tourism Management 33, (2012), 387–396.
See also, among others: Leshu Torchin, “Location, location, location. The destination of the Manhattan TV tour”, Tourist Studies 2, (2002), 247-266; Christina Lee, “‘Have Magic, Will Travel’: Tourism and Harry Potter’s United (Magical) Kingdom”, Tourist Studies 12, (2012), 52-69; Alfio Leotta, Touring the Screen: Tourism and New Zealand Film Geographies (Bristol: Intellect, 2011).
Urry and Larsen, The Tourist Gaze 3.0, 113.
As regards the Italian context, see Francesco di Cesare and Gloria Rech, Le produzioni cinematografiche, il turismo, il territorio (Roma: Carocci, 2007).
David Crouch, Rhona Jackson, and Felix Thompson, “Introduction: the media and the tourist imagination”, in The Media and the Tourist Imagination. Converging Cultures, ed. David Crouch, Rhona Jackson, and Felix Thompson (Abingdon-New York: Routledge, 2005), 2.
Tzanelli, The Cinematic Tourist, 3.
Les Roberts, Film, Mobility and Urban Space. A Cinematic Geography of Liverpool (Liverpool: Liverpool University Press, 2012), 136-137.
Tom Gunning, “The Cinema of Attractions: Early Film, its Spectator and the Avant-Garde”, in Early Cinema: Space-Frame-Narrative, eds. Thomas Elsaesser and Adam Barker (London: British Film Institute, 1990), 56-62.
Andrew Higson, English Heritage, English Cinema. Costume Drama Since 1980 (Oxford: Oxford University Press, 2003), 37-42. On film tourism and/as heritage tourism, see Peter Schofield, “Cinematographic images of a city. Alternative heritage tourism in Manchester,” Tourism Management 5, (August 1996); David Martin-Jones, “Film tourism as heritage tourism: Scotland, diaspora and The Da Vinci Code (2006)”, New Review of Film and Television Studies 12, (2014),156-177; Agarwal and Shaw, Heritage, Screen and Literary Tourism. On the challenges posed by film tourism in heritage sites, see for example: Tim Winter, “Angkor Meets Tomb Raider: setting the scene”, International Journal of Heritage Studies 8, (2002), 323-336; Justyna Bakiewicz et al., “Management challenges at film-induced tourism heritage attractions”, Tourism Planning & Development 14, (2017), 548-566.
di Cesare and Rech, Le produzioni cinematografiche, 46-51.
Roberts, Film, Mobility and Urban Space, 144-147.
Rodanthi Tzanelli, “Game of Thrones to game of sites/sights: framing events through cinematic transformations in Northern Ireland,” in Event Mobilities: Politics, Place and Performance, ed. Kevin Hannam, Mary Mostafanezhad, and Jillian Rickly (Abingdon- New York: Routledge, 2016).
For the concept of paratexts, see Gérard Genette, Soglie. I dintorni del testo (Paris: Seuils, 1987; Torino: Einaudi, 1989).
For an understanding of the film tourist experience as one of the multiple contexts of reception of audiovisual texts, see Giulia Lavarone, “Cinematic tourism in a time of media convergence: a spatial framework”, in The Routledge Companion to Media and Tourism, ed. Maria Månsson et al. (Abingdon-New York: Routledge, 2020), 35-43.
On the development of film tourism research in Italy, see Giulia Lavarone, Cinema, media e turismo. Esperienze e prospettive teoriche del film-induced tourism (Padova: Padova University Press, 2016).
Among others: Territori del cinema italiano: produzione, diffusione, alfabetizzazione, ed. Marco Maria Gazzano, Stefania Parigi, and Vito Zagarrio (Udine: Forum, 2013); Marco Cucco and Giuseppe Richeri, Il mercato delle location cinematografiche (Venezia: Marsilio, 2013).
Axel Bangert, Paul Cooke and Rob Stone, “Introduction,” in Screening European Heritage. Creating and Consuming History on Film, ed. Paul Cooke and Rob Stone (London: Palgrave Macmillan, 2016), xix.
Rosalind Galt, “Italy’s landscapes of loss: historical mourning and the dialectical image in Cinema Paradiso, Mediterraneo and Il Postino,” Screen 2, (Summer 2002).
Alan O’Leary, “Towards World Heritage Cinema (Starting from the Negative),” in Cooke and Stone, Screening European Heritage, 66-67.
Rosalind Galt and Karl Schoonover, “Untimely Desires, Historical Efflorescence, and Italy in Call me by your name”, Italian Culture 37, (2019).
Michele Fadda and Damiano Garofalo, “The distribution of contemporary Italian Cinema in the United States: the films of Luca Guadagnino and Paolo Sorrentino,” Comunicazioni Sociali 3, (September/December 2018); Damiano Garofalo, “La grande bellezza (P. Sorrentino, 2013)”, in Cinema made in Italy. la circolazione internazionale dell’audiovisivo italiano, ed. Massimo Scaglioni (Roma: Carocci, 2020), 195-201. For the total gross of the film, see Box Office Mojo, https://www.boxofficemojo.com/movies/ <accessed on February 15, 2019>.
Among many others, see Albert Sbragia’s insightful comparison between Fellini’s and Sorrentino’s films, where he accuses The Great Beauty of lacking the “urgency” and “historical immediacy” of La dolce vita: Albert Sbragia, “The Spectacular Commodification of Rome in Paolo Sorrentino’s La grande bellezza”, The Italianist 40, (2020), 276-295. For a survey of the critical reception of The Great Beauty in Italy, France, Switzerland, Great Britain and the United States, see: Garofalo, “La grande bellezza”.
Anton Giulio Mancino, “Roma: this must be the (product) place(ment),” and Tullio Masoni, “Roma in cartolina,” Cineforum 526, (July 2013).
On the production of The Great Beauty, see Marco Cucco, “Che cosa è un film? La grande bellezza in una prospettiva di economia e politica dei media,” in La trama dei media. Stato, imprese, pubblico nella società dell’informazione, ed. Marco Cucco (Roma: Carocci, 2014).
O’Leary, “Towards World Heritage Cinema”, 68.
See O’Leary, “Towards World Heritage Cinema”, and Daniele Balicco, Filippo La Porta, and Andrea Minuz, “Paolo Sorrentino, La grande bellezza (2013),” Allegoria 68, (July/December 2013): 217-220.
Andrew Higson, “Re-presenting the national past: Nostalgia and pastiche in the heritage film,” in Fires were started: British cinema and Thatcherism, ed. Lester Friedman (Minneapolis: University of Minnesota Press, 1993), 109.
Balicco, La Porta, and Minuz, “Paolo Sorrentino”, 217-220. My translation.
Stephen Gundle, Historical Stereotypes and Marketing Cliches in the Foreign Consumption of Italian Cinema, keynote lecture at the International conference Made in Italy. La circolazione internazionale dell’audiovisivo italiano come prodotto culturale (University of Bologna, June 19-20, 2018).
O’Leary, “Towards World Heritage Cinema”, 69.
Stephen Gundle, “Hollywood Glamour and Mass Consumption in Postwar Italy,” Journal of Cold War Studies 3, (Summer 2002): 114.
Stephanie Malia Hom, The Beautiful Country. Tourism & the Impossible State of Destination Italy (Toronto-Buffalo-London: University of Toronto Press, 2015), 52-67; 215.
Balicco, La Porta, and Minuz, “Paolo Sorrentino”, 207.
O’Leary, “Towards World Heritage Cinema”, 69.
The management of Palazzo Spada, for example, is not allowed to spread data (e-mail received on June 4, 2018). The feeling of an increase of visitors was expressed by the Knights of Malta in relation to the famous keyhole on the Aventine Hill (e-mail received on June 6, 2018).
Gundle, “Hollywood Glamour”.
The tour proposals selected in May 2018 are the following: The Great Beauty Tour in Fiat 500 Vintage Car provided by Rome500exp http://www.rome500exp.com/service/the-great-beauty-tour-in-fiat-500-vintage-car); <accessed on March 22, 2019>; The “Great Beauty” Tour by LoveRome-Tours in Motion https://love-rome.com/tour/grande-bellezza-tour/ <accessed on March 22, 2019>; “The Great Beauty” Tour by ItalyRomeTour https://www.italyrometour.com/the-great-beauty-rome-tour/ <accessed on March 22, 2019>; The Great Beauty Private Tour by TuscanyAll.com https://www.rome-museum.com/private-tour-great-beauty-rome.php <accessed on March 22, 2019>; The Great Beauty Tour by DeaRomaTours http://www.dearomatours.com/guided-tour/the-great-beauty/ <accessed on March 22, 2019>; The Great Beauty tour-Rome by Rome and Italy Tourist Services https://www.romeanditaly.com/the-great-beauty-tour-rome/ <accessed on March 22, 2019>; Rome tour of the Great Beauty film locations by TiberLimo https://www.tiberlimo.com/rome-tours-limo-service/the-great-beauty-rome-movie-locations-tour/ <accessed on March 22, 2019>; “The Great Beauty Tour” by ItalyLuxuryTravel http://italyluxury.travel/en/itineraries/The_great_beauty_tour.html <accessed on March 22, 2019>; three tours provided by ItalyXP: Group Tour of “The Great Beauty” Movie Locations in Rome https://italyxp.com/en/rome/tours/great-beauty-group <accessed on March 22, 2019>, Private half day tour of Rome, to discover The Great Beauty movie locations https://italyxp.com/en/rome/tours/great-beauty-half-day-private <accessed on March 22, 2019> and Exclusive tour of Rome to discover The Great Beauty movie locations https://italyxp.com/en/rome/things-to-do/great-beauty-full-day-private <accessed on March 22, 2019>; tours promoted on the marketplaces Musement The Great Beauty electric bike tour https://www.musement.com/uk/rome/the-great-beauty-electric-bike-tour-2147/ <accessed on March 22, 2019> and Viator Electric bike small-group tour – The Great Beauty https://www.viator.com/tours/Rome/Electric-bike-tour-The-Great-Beauty/d511-8350P1 <accessed on March 22, 2019> and On the traces of: ‘The Great Beauty’ the movie, in Rome https://www.viator.com/tours/Rome/On-the-traces-of-The-Great-Beauty-the-movie-in-Rome/d511-56197P43 <accessed on March 22, 2019>; tours promoted on the Lonely Planet website: Half-Day Private Rome Tour: The Great Beauty https://www.lonelyplanet.com/italy/rome/activities/half-day-private-rome-tour-the-great-beauty/a/pa-act/v-13124P9/359975 <accessed on March 22, 2019> and Roma La grande bellezza Segway Tour https://www.lonelyplanet.com/italy/rome/activities/roma-la-grande-bellezza-segway-tour/a/pa-act/v-5620P18/359975 < accessed on March 22, 2019>. Four of the webpages consulted on May 2018, presenting the tours provided by Once in Italy (Private The Great Beauty Tour), Guidaly (The Great Beauty tour) and Lookals (The Great Beauty tour), and one tour promoted by Viator (New: The Great Beauty), had disappeared at the time of the last check on March 22, 2019.
The phone interview to Ewout Kieckens (Love Rome - Tours in Motion) was led in May 2018.
Here are the links of the Turismo Roma page (http://www.turismoroma.it/cosa-fare/alla-scoperta-de-la-grande-bellezza-2) and of the VisitLazio (http://portal.visitlazio.com/en/risultati-ricerca) page in May 2018. At the last check on March 16, 2019, the VisitLazio page had been renewed with a slightly different text and new images (https://www.visitlazio.com/web/en/luoghi/the-great-beauty-and-its-locations-in-rome/).
Costantino D’Orazio, La Roma Segreta del film La Grande Bellezza (Segrate: Sperling&Kupfer, 2014).
See Schofield, “Cinematographic images of a city”.
From 2014 to 2017, the page reached between almost 7.500 and 10.000 visualisations per year, with a decreasing trend for the Italian version (from 6.669 in 2014 to 3.481 in 2017) and an increasing one for the English (from 488 to 2.472), Spanish (126 to 1.691), French (87 to 587) and German (63 to 287) versions. As regards The Great Beauty related page on the tourist promotion website of the Lazio Region (VisitLazio), it has reached a smaller public. It was first published in November 2014 and in May 2018 it had been visited only 3.105 times, with a clear predominance of Italian users (83%). Among other factors, foreign users are obviously more familiar with the tourist brand ‘Rome’.
I would like to thank Alvise di Giulio (Rome 500 exp) and Ewout Kieckens (Love Rome - Tours in Motion) for providing information in May 2018 through e-mails and phone interviews.
The “Great Beauty” Tour by LoveRome-Tours in Motion <accessed on March 22, 2019>.
The “Great Beauty” tour provided by Lookals. This webpage, first accessed in May 2018, had disappeared at the time of the last check on March 22, 2019.
Private The Great Beauty Tour provided by Once in Italy. This webpage, first accessed in May 2018, had disappeared at the time of the last check on March 22, 2019.
The Great Beauty Private Tour provided by TuscanyAll.com <accessed on March 22, 2019>. Emphasis added.
The Great Beauty tour-Rome by Rome and Italy Tourist Services <accessed on March 22, 2019>.
Half-Day Private Rome Tour: The Great Beauty promoted on the Lonely Planet website <accessed on March 22, 2019>.
Private tour of Volterra, following “Twilight” movie locations (https://amp.italyxp.com/en/tuscany/tours/private-volterra-twilight), James Bond Spectre Tour (https://love-rome.com/tour/james-bond-spectre-tour/) <both accessed on March 22, 2019>.
E.g., the Vespa Vintage Tour provided by Rome500exp http://www.rome500exp.com/service/vespa-vintage-tour < accessed on March 22, 2019>.
The Great Beauty Tour by DeaRomaTours <accessed on March 22, 2019>.
Another operator, on the contrary, seems to be more confident on the appreciation of the film by Italian tourists rather than foreign ones. On its webpage, the textual presentations of the tour in Italian and in English largely differ. The Italian version contains references to specific film scenes and locations, while the English one just mentions the title of the film. Despite the tour name, its English presentation displays other cinematographic references, such as Roman Holiday (William Wyler, 1953), a film which also “lends” the tour stop at the Mouth of Truth, a location which does not feature in The Great Beauty. There is also a reference to famous American actors like Johnny Depp, who have driven Fiat 500s, the car used for the tour, in their films. The Great Beauty is maybe seen as too much of an art house film to be appreciated by non-Italian people, and it thus needs to be supported with other consolidated elements of the Italian brand, like Fiat 500, or with references to much more popular American movies and stars. See: The Great Beauty Tour in Fiat 500 Vintage Car and La Grande Bellezza tour in Fiat 500 d’epoca https://www.rome500exp.com/it/service/la-grande-bellezza-tour-in-fiat-500-depoca <both accessed on March 22, 2019>.
Gundle, “Hollywood Glamour”, 114.
Paolo D’Angelo, “Geofilmica, ovvero: che cosa può fare il cinema per il paesaggio?”, Fata Morgana 6, (September/December 2008), 25-42.
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