CHAPTER I INTRODUCTION 1.1. Background With the development of technology in making a movie, movie production companies have started to exploit the effect of movies for many years. Movies are not only be used to promote motor vehicles, drinks, foods, and clothing for merchandiser, but also might promote tourism (Riley, et al., 1998). The featured locations could emerge as a new destination for the audiences of the movie. That could increase the branding of the destination as places featured in the box office movie. The popular concept about this phenomenon is known as movie-induced tourism. Movie-induced tourism is a growing phenomenon worldwide, fueled by the growth of the entertainment industry and the increase of willingness to travel (Hudson and Ritchie, 2006). Some scholars have conducted a research about movieinduced tourism. A famous prior research about movie-induced tourism was introduced by Riley and Van Doren in 1992. The other scholar also conducted similar research which are Tooke and Baker in 1996. Those researches showed that there were increasing number of visitors in the featured location used by the movie or television drama. One of the latest concept proposed for movie-induced tourism is added by a research from Beeton which is citied in this study based on the year 2006 and 2010. She uses different term of movie-induced tourism which is film tourism. In the latest, Beeton (2010) adds an information to make film tourism in
more advance knowledge. She reveals that film tourism research invites multidisciplinary post-modern study, which has moved from simply considering business and marketing aspects towards approaches incorporating multiple disciplinary based. Movie-induced tourism could be described as tourist visits to a destination or attraction as a result of the destination s being featured on television, video, or the cinema screen (Hudson and Ritchie, 2006). In Indonesia, the phenomenon of the movie-induced tourism is actually already found, call it the popularity of Belitung through Laskar Pelangi movie or Semeru Mount through 5 cm movie. Lately, a similar phenomenon which becomes interest is the popularity of the locations used by Ada Apa Dengan Cinta (AADC) 2 which was mostly taken in Yogyakarta. AADC 2 is a sequel to the previous movie which is Ada Apa Dengan Cinta played in national theaters in 2002. With a story line being made as if it was not over yet, the movie production company, which is Miles Films, is back rocking national cinema by launching the second sequel in April 2016. Bringing a national movie watched by millions of audiences is not an easy thing to do by a local director. Most of them have to compete with Hollywood Box Office movies. Even the airing schedule must be considered carefully so as not to clash with international box office. If that happens, it is not impossible movies directed by domestic director will sink in a matter of days. In addition, good quality movie is expected to be able to satisfy the audiences in Indonesia. One of the member Indonesia Movie Festival (Festival Film Indonesia) 2005, Noorca M Massardi in an article written by Qona ah (2008), said that technically Indonesian
film is good. The movie should be able to establish a harmonious relationship with the audience through the quality of their production. If the quality is getting worse, Indonesian film will be abandoned by the audience. The prospect of movie theatre business in Indonesia are very promising. That statement is directly expressed by Jeff Lim, Director of CGV Cinemas Indonesia through an exclusive interview conducted by Bachdar (2017). There is an improvement in the standards of living of people in Indonesia which means that there is a positive change of income. Also, the growth of young generation in Indonesia also looks quite positive in the future. Furthermore, the audience is also becoming more and more critical about the quality of movies they watch in the cinemas. Especially the local movies scene where they are looking for more variations, options and are more open to new kinds of contents. For example, the audience of Warkop DKI Reborn Part 1 has reached almost 8 million audiences. Table 1.1 shows the number of national box office movies from year 2007 until 2017. Joko Anwar, one of Indonesia s famous director, once said that film is an important part of human life (Julian, 2017). It can be true, perhaps not even important for mere individual entertainment. The movie industry could be a good chance in advancing the nation both in terms of economy, science, and even become one of the mediums to preserve Indonesian culture. One of the interesting potentials studied in this research is another function of a movie as media promotion for a destination in Indonesia.
Table 1.1 Top 10 National Box Offices Based on Number of Audiences from 2007-2017 Rank Title Year Number Of Audiences 1 Warkop DKI Reborn: Jangkrik Boss! Part 1 2016 6,858,616 2 Laskar Pelangi 2008 4,719,453 3 Habibie & Ainun 2012 4,583,641 4 Warkop DKI Reborn: Jangkrik Boss Part 2 2017 4,083,190 5 Ada Apa Dengan Cinta 2 2016 3,665,509 6 Ayat-ayat Cinta 2008 3,654,777 7 My Stupid Boss 2016 3,052,657 8 Danur: I Can See Ghosts 2017 2,736,157 9 Ada Apa Dengan Cinta? 2002 2,700,000 10 Cek Toko Sebelah 2016 2,642,957 Source: http://filmindonesia.or.id/movie/viewer/2007-2017#.wybhm4maviu (Accessed on October 2017) AADC 2 was present at the cinema not only as a long-term healer for its fans in 2002, but also offered a movie with the concept of making and shooting techniques that are different from other Indonesian movies. The Director, Riri Riza, also hopes the success of movie AADC 2 can be repeated even beyond the success of the previous sequel. The expectation is real with the fact that AADC 2 is able to be in fifth position at the national box office with the number reaching 3,665,509 audiences. The number was even able to beat the previous sequel which was in ninth position of the national box office with the number reaching until 2.7 million of audiences. With the assumption of income at the movie production company of 30,000 rupiah per audience, AADC 2 is able to generate profits for approximately 109 billion rupiah. In terms of storyline, AADC 2 does not have much different from AADC 1. The main story remains dominated by romance love story of its main character
which are Rangga and Cinta played by Dian Sastrowardoyo and Nicholas Saputra. It is just that the storyline is presented more to the adult love story compared to the previous sequel which is more dominated by the love story of two teenagers in high school. After a dozen years separated between Jakarta and New York, Rangga and Cinta are reunited in unexpected city, namely Yogyakarta. This is what makes AADC 2 look different and more interesting than the previous sequel. If in the previous sequel, the capital city of Indonesia, Jakarta, became the only main location, this time the director chose to make Yogyakarta as the main location that dominated as the background on the movie. The director says that 70 percent of filming is done in Yogyakarta. Many Yogyakarta artists are also involved, from production to becoming actors in the movie. Riri Riza was interested in that area because of new things that are developing, such as the development of comics to hip-hop music and fun mural (Bisma, 2015; Saputra, 2016). One of the interesting facts about the success of AADC 2 is the impact caused after the movie was released in April 2016. Not only successfully flooded with millions of audiences, the movie is also able to attract audiences to make visits to shooting locations in Yogyakarta. Using one of social media, which is Instagram, a key word #aadc2 has 166.042 posts. Many of them are pictures of visitors visiting locations where AADC 2 was created. The enthusiasm of people who flocked to the shooting location of AADC 2 was exploited by some travel agents. They compete to offer travel packages that are usually named as Tour AADC 2. By following the tour, the customers would be
taken to the locations where AADC 2 was made during the shooting process in Yogyakarta. Figure 1.1 Tag #aadc2 in Social Media Instagram Source: https://www.instagram.com/explore/tags/aadc2/ (accessed on 7 August 2017) One unique thing of the featured locations are the use of places that are not as the icons that exist in Yogyakarta. AADC 2 s movie production company selects some, somewhat, different places from the usual locations. If most movie production companies use Yogyakarta s icons like Malioboro, Tugu, and Prambanan Temple, then in AADC 2, the crew prefer to places that are still new, call it, Ratu Boko Temple, Gereja Ayam, Papermoon Puppet Show, Sellie Coffee, Klinik Kopi, Greenhost Hotel, Sate Klathak Pak Bari and so on.
Figure 1.2 The Example of Trip Package Offered by Travel Agent Source: www.varaholidaytour.com/ Figure 1.3 Visitor Did Scene Repetition in Featured Location (Sate Klathak Pak Bari) Source: https://www.instagram.com/p/byq4f92frzp/?tagged=aadc2 (accessed on 27 th August 2017) Before the phenomenon of increasing visits to the featured locations that exist in AADC 2, Yogyakarta is already well known as a favorite tourist destination in Indonesia, both for national tourists and foreign tourists. According to the statistical data obtained from the official page of Yogyakarta Tourism Office, the number of tourists in Yogyakarta is always increasing every year, both in terms of
local and foreign tourists. With the phenomenon of AADC 2, it certainly can be a good news to improve the image for some destinations in Yogyakarta. The increasing number of visits to the featured locations in AADC 2 is quite interesting considering there are many movies and television dramas that use Yogyakarta as the main location, but do not have a visit effect as big as AADC 2. 400000 300000 200000 100000 Graph of The Growth of Foreign Tourists to Yogyakarta 0 2012 2013 2014 2015 2016 Graph of The Growth of Foreign Tourists to Yogyakarta Figure 1.4 Growth of Foreign Tourists to Yogyakarta Source: Statistical Book of Yogyakarta Tourism Office, 2016 Graph of The Growth of National Tourists to Yogyakarta 5000000 4000000 3000000 2000000 1000000 0 2012 2013 2014 2015 2016 Graph of The Growth of National Tourists to Yogyakarta Figure 1.5 Growth of National Tourists to Yogyakarta Source: Statistical Book of Yogyakarta Tourism Office, 2016 The increase in the number of visits is also acknowledged by the local government which is Yogyakarta Tourism Office. A brief interview was conducted
at the beginning of this research in March 2017. Mr. Jo and Mr. Jaswanto as staff of Program and Information Department, Tourism Office in Yogyakarta, role as informants in this study to provide information related to it. Although there are no official and structured surveys, staff from tourism office have made short observations on the locations used in the AADC 2 movie, such as in Rumah Pak Bagong and Sellie Coffee. They are well aware of the effects of that movie on tourist visits in several locations in Yogyakarta (and some locations in Magelang, North Yogyakarta, as well). Some places even open in the middle of the night to meet the demand of visitors who want to do a few scene in AADC 2 movie. But until now, Tourism Office in Yogyakarta has not followed up a particular marketing strategy to support this phenomenon. 1.2. Problem Statement Movie-induced tourism comes with a variety of different terms in some previous study. Some call it movie-induced tourism, some other call it film-induced tourism, and some call it film tourism. From several different terms, the core and the definition of everything are the same. Researcher would use the term movieinduced tourism as the main topic that would be discussed further in this study. At present, the phenomenon is getting a lot of attention from researchers worldwide since tourism also having become one of the fastest growing economic sectors in the world (Hoffmann, 2015). This study becomes rapid emerging field (Beeton, 2006). Furthermore, it is supported with the role of media and news that also disseminate about the effects of movie to increase the visit of a destination. The news media has contributed to this belief of the power of film by regularly
presenting stories supporting this premise and promoting places where television series and movies have been set. The number of publications on the topic also shows significant increase in number (Beeton, 2006; Hoffmann, 2015). Researches conducting movie-induced tourism mostly build from a Western perspective (Beeton, 2006). This raises a question whether this study can be applied in the other culture such as in Asia or not. Hoffmann (2015) gathered the latest data that coincided with an increase in the number of publications on the topic. A continuity study by Beeton in 2010 also confirms that there is an increasing body of knowledge coming out of Asia that suggests it may be even more significant in those cultures. In Indonesia, a related research about movie-induced tourism is still very rarely studied by scholars. According to the data that has been tried to be searched by researcher, there is only one published previous research that discusses about the influence of 5 cm movie on the motivation to visit Semeru Mount. This fact is quite unfortunate given the positive effects that could be brought by a movie to improve tourism destination branding in Indonesia. Although the development of movie industry is still far compared to the Hollywood Box Office, million numbers resulted from audiences in Top 10 National Box Office (see Table 1.1.) could be an evident data that movie can be a tool to promote a destination in order to attract those million audiences visiting featured locations in the movie. Tooke and Baker (1996) asked for data in many organizations. In their research, they used television film as the media that influences people to visit the featured destination. Many responded that television film had affected their
business positively both in terms of finance and visitor figures but few were able to back this up with statistic. Some organizations had not considered collecting visitor figures and could not understand why they would be useful, some were considering doing so and some had only recently begun. As a regard to Tooke and Baker s statement, while researcher conducted a prior interview with Tourism Office in Yogyakarta, they might not be seen to provide the maximum effort to respond the phenomenon of site visits in shooting locations of movie AADC 2. Some staff only make a modest observation to confirm that there is an increased interest to visit featured location in the movie. There is no statistical data obtained, let alone, the data about the characteristic of visitors, such as what kind of motivation they visit the places. Therefore, the office also reveal that follow up marketing strategy has not been established yet to support this situation. In 2010, a well-known scholar for film tourism, Sue Beeton, added new paradigm to make film tourism in more advance knowledge. She revealed that film tourism research invites multi-disciplinary post-modern study, which has moved from simply considering business and marketing aspects towards approaches incorporating multiple disciplinary based. While the early studies of film-induced tourism focused primarily on the more superficial, passive viewing of a scene when discussing the motivation of visitors to a film site, this moved into more complex discussion regarding private and personal motivations (Beeton, 2010). Beeton (2005) suggested that motivation was more complex, arguing that visitors were coming to film sites to re-live an experience (or even emotion) encountered in the film, reinforce myth, storytelling or fantasies, or for reasons of status (or celebrity).
In the latest study, she also proposes new model of film-induced tourism knowledge development. Figure 1.6 Model of Film-Induced Tourism Knowledge Management Source: Beeton, 2010 The model enables researcher to see where it has gone and where it is going. It still needs to go in terms of knowledge development, both theoretical and practical. By understanding where the researcher has come from, how it is structured and where it is going, this study enables the researcher to develop a body of knowledge and to look forward to the future rather than taking a backwardslooking perspective by simply repeating what is already known (Beeton, 2010). According to the interpretation of that model, this study put a knowledge about movie-induced tourism business research aspect according to personal motivation of individual when they were coming to film sites. To fill the gap of information between theoretical and practical knowledge about the phenomenon of visiting sites
in AADC 2, the researcher would determine the role of movie as media promotion based on the audience motivation using descriptive content analysis study to provide a new knowledge in this respected topic. 1.3. Research Questions Based on the background study stated previously, the key research questions in this study are: a. What is the role of movie in motivating the audiences to visit featured locations of movie AADC 2? b. What types of audience personal motivations are relevant to movie-induced tourism for the study on movie AADC 2? c. What are the assessments of audience after visiting the featured location? d. What are the behavioral intentions of audience after visiting the featured location? 1.4.Research Objectives The main objectives of this study are: a. To identify the role of movie in motivating the audiences to visit featured locations of movie AADC 2; b. To identify the audience personal motivation to visit featured locations of movie AADC 2; c. To identify the assessments of audience after visiting the featured location of movie AADC 2; d. To identify the behavioral intentions of audience after visiting the featured location of movie AADC 2
1.5. Research Contributions This study cannot predict movie-induced tourism for all motion pictures but it can provide additional data that is compelling enough to warrant further research. The contribution of this research is to provide a glimpse at the phenomenon, widens the scope of the movie-induced tourism concept, and describes some of the elements associated with this phenomenon. Furthermore, the result and suggestion in the end of this research are expected to be able to elaborate collaboration between Tourism Office, Destination Marketing Organization (DMO), movie production company, and other related practitioners in Indonesia in order to increase destination branding of certain locations as prospective tourism object in the future. 1.6. Research Scope In order to minimize less relevant content, the scope of this research is about the identification of audience personal motivation to do site visit after watching Ada Apa Dengan Cinta 2. A descriptive qualitative study supported by in-depth interview would be used to obtain the data for this research. 1.7. Systematic of Writing There are five chapters in this research study that consist of, Chapter I Introduction. This chapter consists with the background of the study, the reason why the topic about movie-induced tourism in Indonesia is interesting, the research questions, the objective of the research, research contributions, and the scope of the research;
Chapter II Review of Previous Literature. This chapter is a literature review of the theoretical concepts for determining movie-induced tourism. It starts with the basic definition of branding in marketing concept, then continues until the importance of branding for tourism destination. In the end of this chapter, the previous researches for key topic, which is movie-induced tourism, would be reviewed to give an insight in knowledge development about the related concept from different points of view; Chapter III Research Methods. This chapter describes the methodology used for this research, starting from the design, data collection method, and data analysis method. A qualitative interviews with selected respondents would be undertaken to explore the emergent themes and issues; Chapter IV Results and Discussion. This chapter identifies the findings of indepth interviews from selected respondents as the informants in this study. A number of emergent themes for the future development of such destinations are highlighted; Chapter V Conclusion. This chapter provides an overall discussions on the conclusions and implications of the outputs from the previous chapters and makes suggestions or recommendations for future research in this discipline. This section also describes the limitations faced by the researcher in conducting the study.