Film Tourism Market
Film Sets to be Most Preferred Location for Film Tourism in the Future. Read on to discover further Insights
Film Tourism Market By Location Type, Booking Channel, Tourist Type, Tour Type, Consumer Orientation, Age Group & Region - Forecast 2022-2032
Film Tourism Sector Outlook (2022-2032)
[300 Pages Report] As per newly released data by Future Market Insights (FMI), the Film Tourism Sector is estimated at US$ 66.7 Billion in 2022 and is projected to reach US$ 128.78 Billion by 2032, at a CAGR of 6.8% from 2022 to 2032.
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Attribute |
Details |
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Film Tourism Sector Estimated Size (2022) |
US$ 66.7 Bn |
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Film Tourism Sector Projected Size (2032) |
US$ 128.78 Bn |
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Film Tourism Sector Value-based CAGR (2022-2032) |
6.8% |
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2017-2021 Film Tourism Market Outlook Compared to 2022-2032 Forecast
The film tourism market is forecasted to grow at a steady rate during the forecast period. The growth can be attributed to several reasons both international and domestic. The rise of pop culture and the immense consumer demand for related activities has been one of the major reasons. The increasing popularity of tours to film locations due to the exposure such locations get from the films, documentaries, TV series, etc. Local economies also benefit immensely from the exposure they get from film-induced tourism.
The overall outlook for the film tourism market looks bright and positive during the forecast period while creating opportunities for firms, helping local economies, and generating employment opportunities.
The Trend of Cultural Tourism gives Rise to Visitors in the Film Tourism market.
The increasing trend of people wanting to immerse themselves in different cultures has been visible across the globe. This trend has been named cultural integration and has given rise to ‘Culture Tourism’ which is the parent market for ‘Film Tourism’. The demands of people to partake in the culture and experience the parts of films or series that they love gives an opportunity for the firms to generate revenue by providing such experiences. This is expected to help the film tourism market further.
The regional locations and otherwise non-tourist spots are expected to gain the most out of this. The local economy of Northern Ireland has been estimated to gain in the excess of ~US$ 50 Mn in 2018 from the tourists visiting the location to see the sets and filming locations of the popular show ‘Game of Thrones ’.
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Talk to AnalystGlobalization of Content and Ease of Travel Boosting the Market.
The presence of content that caters to a wide category of audiences across the globe has been increasing due to the availability of streaming platforms and the internet. This has made the locations and production sets of such content very popular among tourists. The increasing disposable income of the target consumer audience has also helped in the surge of film tourism. The low cost of travel and ease of booking accommodations has also been major factor in the growth of the market. Consumer demand has gone up due to these factors, making the current period the perfect opportunity to enter the market.
Country-wise Insight
Why is New Zealand a popular destination for Film Tourism?
“Variety of landscapes and the government support make New Zealand a popular destination for Film Tourism “
New Zealand has been a popular destination among production houses for filming due to a couple of major reasons; the primary reason is the wide availability of different landscapes for filming throughout New Zealand, and the other reason has been government incentives and the ease of getting permits. Major film productions like ‘LOTR’, ‘Chronicles of Narnia’, and the ‘The Last Samurai’ took place in different beautiful landscapes of New Zealand. The sets and locations used in these movies are famous among the tourists, attracting thousands of tourists to New Zealand and creating a substantial amount of revenue for the local economy.
What Factor Drives the France Film Tourism market?
“Film festivals are the major driving factor in the France Film Tourism market”
France has always been viewed as an artistic country, it has been a boiling mixture pot of art, luxury, and philosophy. To celebrate this culture and tradition France has many film festivals held annually. ‘Cannes Film Festival’ which is among the three biggest film festivals in the world, is held every year in May in Cannes city, bringing in a lot of film enthusiasts, critics, and movie stars to the city. This along with different film productions happening in France throughout the year has also kept the film tourism sector in France growing and refreshed.
Which is the most Prominent Feature of Film Tourism in the United States of America?
“Presence of biggest production sets and film studios are the prominent feature in the USA market”
The USA is home to the oldest and largest film industry by revenue i.e. Hollywood, making it a prime spot for Film Tourism. The city of Los Angeles, California is home to the biggest film studios in the world like ‘Warner Bros Studio’, ‘Universal Studio’, ‘20th Century Fox Studio’, and ‘Paramount Studios’ making it the hotspot for production sets and major filming activities. The ‘Universal Studio Theme Park’ is one of the major attractions in the city, bringing in tourists from all over the globe. Other popular destinations like New York, Atlanta, San Francisco, and Chicago also have visitors who want to experience the filming locations of their favourite films in real life.
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Category-wise Insights
Which is the most preferred Location Type in the Film Tourism sector?
“Film sets are the most preferred location type in the film tourism sector”
Film sets are one of the most preferred locations among tourists within the film tourism sector. This is due to the ease of booking and accommodations one can avail of while visiting these sets. They are regulated and kept in good condition by the respected film studios, also offering the tourists all-inclusive packages and tours of the film sets and related destinations. While famous destinations where films have been shot have also seen a surge in the number of visitors, helping generate revenue for the local economies.
Which Booking Channel is Preferred by the Consumers in the Film Tourism Market?
“Online booking channels lead the booking channel segmentation”
With the wide availability of the internet and the online presence of top firms operating in the market, the booking channels have mainly shifted towards the online mode of bookings. This rise is attributed due to the ever-increasing ease of using the online channel and the wide number of tour options one gets from these platforms. Hassle-free experience and the comfort of booking at your convenience are also the driving factors in this case. The online bookings channel is expected to keep on capturing the major market share and remain the most preferred.
What Tour Type is Famous Amongst Tourists in the Film Tourism sector?
“Packaged Traveler is the most prominent category”
With several firms offering different services and all-inclusive packages, it has made the ‘Packaged Traveller’ the majority category in the tour type segmentation. The firms offer film tourism packages with different activities, locations, and price ranges; helping satisfy the needs of the majority of the consumer base without the need for them to go through different channels for different services, saving them the hassle and cost. Thus making packaged travellers the norm in the film tourism sector.
Competitive Landscape
The key players are maintaining the competitive edge in the market by offering all-inclusive packages and saving the tourists from the hassle of going through different channels for their tours. Government initiatives and investments are boosting the market and have also helped the firms improve their service offerings.
For Instance:
- The construction process of the Uttar Pradesh (UP) Government-backed UP Film City project is expected to start in 2022, in Sector-21 of Yamuna Expressway Development Authority (YEIDA) area of Gautam Buddh Nagar district, this is expected to generate employment in the area, promote tourism, and help the firms in generating more revenue.
Scope of Report
|
Attribute |
Details |
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Forecast Period |
2022-2032 |
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Historical Data Available for |
2017-2021 |
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Market Analysis |
US$ Million for Value |
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Key Regions Covered |
North America, Latin America, Europe, East Asia, South Asia, Oceania & MEA. |
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Key Countries Covered |
United States, Canada, Brazil, Mexico, Germany, U.K., France, Spain, Italy, Russia, Benelux, South Africa, Northern Africa, GCC Countries, China, Japan, South Korea, India, Thailand, Malaysia, Indonesia, Australia & New Zealand. |
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Key Segments Covered |
Location Type, Booking Channel, Tourist Type, Tour Type, Consumer Orientation, Age Group, and Region |
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Key Companies Profiled |
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Report Coverage |
Market Forecast, Company Share Analysis, Competition Intelligence, DROT Analysis, Market Dynamics and Challenges, and Strategic Growth Initiatives |
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Customization & Pricing |
Available upon Request |
The Film Tourism Sector by Category
By Location Type:
- Film Sets
- Destination
- Film Festivals
By Booking Channel:
- Phone Booking
- Online Booking
- In Person Booking
By Tourist Type:
- Domestic
- International
By Tour Type:
- Independent Traveler
- Package Traveler
- Tour Group
By Consumer Orientation:
- Men
- Women
By Age Group:
- 15-25 Years
- 26-35 Years
- 36-45 Years
- 46-55 Years
- 66-75 Years
Frequently Asked Questions
What is the current market value of the Film Tourism market?
The Film Tourism market is currently valued at US$ 66.7 Bn in 2022.
What is the forecasted growth rate for the Film Tourism market?
The Film Tourism market is currently forecasted to grow at a rate of 6.8% CAGR during the forecast period.
What are the key trends driving the Film Tourism sector?
Driving trends in the film tourism market are the increasing popularity of pop culture, and the ease of travel to such locations.
Who are the leading players in the Film Tourism sector?
Leading players operating in the Film Tourism sector are IIFTC, MP Tourism, Tourism Film Destinations, Scallywag Travel, and Onlocationtours.
Table of Content
1. Executive Summary 1.1. Global Market Outlook 1.1.1. Who Is Travelling? 1.1.2. How Much Do They Spend? 1.1.3. Direct Contribution of Tourism To GDP 1.1.4. Direct Contribution of Tourism To Employment 1.2. Tourism Evolution Analysis 1.3. FMI Analysis and Recommendations 2. Market Introduction 2.1. Total Spending (US$ Mn) and Forecast (2022-2032) 2.2. Number of Film based Tourists (Mn) and Forecast (2022-2032) 2.3. Total Spending Y-o-Y Growth Projections (2022-2032) 2.4. Number of Film based Tourists Y-o-Y Growth Projections 3. Global Tourism Industry Analysis 3.1. Tourism Industry Overview 3.1.1. Travel & Tourism Industry Contribution To Global GDP 3.1.1.1. Business Spending v/s Leisure Spending 3.1.1.2. Domestic v/s Foreign 3.1.1.3. Direct, Indirect, and Induced 3.1.2. Travel Sector Contribution To Global Overall Employment 3.1.3. Travel & Tourism Growth Rate 3.1.4. Foreign Visitor Exports As Percentage of Total Exports 3.1.5. Capital Investment In Travel & Tourism Industry 3.1.6. Different Components of Travel & Tourism 3.1.7. Global Tourism Industry Outlook 3.1.7.1. Cultural Tourism 3.1.7.2. Culinary Tourism 3.1.7.3. Eco/Sustainable Tourism 3.1.7.4. Sports Tourism 3.1.7.5. Spiritual Tourism 3.1.7.6. Wellness Tourism 3.1.7.7. Others 4. Global Film Tourism Market Dynamics 4.1. Market Drivers & Opportunities 4.1.1. The Trend of Cultural Tourism Gives Rise to Visitors in the Film Tourism Market 4.1.2. Globalization of Content and Ease of Travel Boosting the Market. 4.1.3. Others (during course study) 5. Market Background 5.1. Top 10 Film Tourism Market Companies 5.2. Macro-Economic Factors 5.2.1. Global GDP Growth Outlook 5.2.2. Global Industry Value Added 5.2.3. Global Consumer Spending Outlook 5.2.4. Global Direct contribution of Travel & Tourism to GDP 5.2.5. Global Visitor Exports and International Tourist Arrivals 5.2.6. Capital Investment In Travel & Tourism 5.2.7. Top Tourism Spending Countries 5.3. Forecast Factors - Relevance & Impact 6. Categorizing of Global Film Tourism Sector 2021 6.1. Introduction/ Key Findings 6.2. Current Market Analysis By Location Type (% of Demand) 6.2.1. Film Sets 6.2.2. Destinations 6.2.3. Film Festivals 6.3. Current Market Analysis By Booking Channel (% of Demand) 6.3.1. Phone Booking 6.3.2. Online Booking 6.3.3. In Person Booking 6.4. Current Market Analysis By Tourist Type (% of Demand) 6.4.1. Domestic 6.4.2. International 6.5. Current Market Analysis By Tour Type (% of Demand) 6.5.1. Independent Traveller 6.5.2. Tour Group 6.5.3. Package Traveller 6.6. Current Market Analysis By Consumer Orientation (% of Demand) 6.6.1. Men 6.6.2. Women 6.7. Current Market Analysis By Age Group (% of Demand) 6.7.1. 15-25 Years 6.7.2. 26-35 Years 6.7.3. 36-45 Years 6.7.4. 46-55 Years 6.7.5. 66-75 Years 6.8. Current Market Analysis By Region (% of Demand) 6.8.1. North America 6.8.2. Latin America 6.8.3. Europe 6.8.4. East Asia 6.8.5. South Asia 6.8.6. Oceania 6.8.7. MEA 6.9. Key Findings, By Each Category 7. Categorizing of North America Film Tourism Sector 2021 7.1. Introduction/ Key Findings 7.2. Current Market Analysis By Location Type (% of Demand) 7.2.1. Film Sets 7.2.2. Destinations 7.2.3. Film Festivals 7.3. Current Market Analysis By Booking Channel (% of Demand) 7.3.1. Phone Booking 7.3.2. Online Booking 7.3.3. In Person Booking 7.4. Current Market Analysis By Tourist Type (% of Demand) 7.4.1. Domestic 7.4.2. International 7.5. Current Market Analysis By Tour Type (% of Demand) 7.5.1. Independent Traveler 7.5.2. Tour Group 7.5.3. Package Traveler 7.6. Current Market Analysis By Consumer Orientation (% of Demand) 7.6.1. Men 7.6.2. Women 7.7. Current Market Analysis By Age Group (% of Demand) 7.7.1. 15-25 Years 7.7.2. 26-35 Years 7.7.3. 36-45 Years 7.7.4. 46-55 Years 7.7.5. 66-75 Years 7.8. Current Market Analysis By Country (% of Demand) 7.8.1. US 7.8.2. Canada 7.9. Key Findings, By Each Category 8. Categorizing of Latin America Film Tourism Sector 2021 8.1. Introduction/ Key Findings 8.2. Current Market Analysis By Location Type (% of Demand) 8.2.1. Film Sets 8.2.2. Destinations 8.2.3. Film Festivals 8.3. Current Market Analysis By Booking Channel (% of Demand) 8.3.1. Phone Booking 8.3.2. Online Booking 8.3.3. In Person Booking 8.4. Current Market Analysis By Tourist Type (% of Demand) 8.4.1. Domestic 8.4.2. International 8.5. Current Market Analysis By Tour Type (% of Demand) 8.5.1. Independent Traveler 8.5.2. Tour Group 8.5.3. Package Traveler 8.6. Current Market Analysis By Consumer Orientation (% of Demand) 8.6.1. Men 8.6.2. Women 8.7. Current Market Analysis By Age Group (% of Demand) 8.7.1. 15-25 Years 8.7.2. 26-35 Years 8.7.3. 36-45 Years 8.7.4. 46-55 Years 8.7.5. 66-75 Years 8.8. Current Market Analysis By Country (% of Demand) 8.8.1. Brazil 8.8.2. Mexico 8.8.3. Argentina 8.8.4. Colombia 8.8.5. Rest of LA 8.9. Key Findings, By Each Category 9. Categorizing of Europe Film Tourism Sector 2021 9.1. Introduction/ Key Findings 9.2. Current Market Analysis By Location Type (% of Demand) 9.2.1. Film Sets 9.2.2. Destinations 9.2.3. Film Festivals 9.3. Current Market Analysis By Booking Channel (% of Demand) 9.3.1. Phone Booking 9.3.2. Online Booking 9.3.3. In Person Booking 9.4. Current Market Analysis By Tourist Type (% of Demand) 9.4.1. Domestic 9.4.2. International 9.5. Current Market Analysis By Tour Type (% of Demand) 9.5.1. Independent Traveler 9.5.2. Tour Group 9.5.3. Package Traveler 9.6. Current Market Analysis By Consumer Orientation (% of Demand) 9.6.1. Men 9.6.2. Women 9.7. Current Market Analysis By Age Group (% of Demand) 9.7.1. 15-25 Years 9.7.2. 26-35 Years 9.7.3. 36-45 Years 9.7.4. 46-55 Years 9.7.5. 66-75 Years 9.8. Current Market Analysis By Country (% of Demand) 9.8.1. Germany 9.8.2. Russia 9.8.3. France 9.8.4. Italy 9.8.5. UK 9.8.6. Rest of Europe 9.9. Key Findings, By Each Category 10. Categorizing of East Asia Film Tourism Sector 2021 10.1. Introduction/ Key Findings 10.2. Current Market Analysis By Location Type (% of Demand) 10.2.1. Film Sets 10.2.2. Destinations 10.2.3. Film Festivals 10.3. Current Market Analysis By Booking Channel (% of Demand) 10.3.1. Phone Booking 10.3.2. Online Booking 10.3.3. In Person Booking 10.4. Current Market Analysis By Tourist Type (% of Demand) 10.4.1. Domestic 10.4.2. International 10.5. Current Market Analysis By Tour Type (% of Demand) 10.5.1. Independent Traveler 10.5.2. Tour Group 10.5.3. Package Traveler 10.6. Current Market Analysis By Consumer Orientation (% of Demand) 10.6.1. Men 10.6.2. Women 10.7. Current Market Analysis By Age Group (% of Demand) 10.7.1. 15-25 Years 10.7.2. 26-35 Years 10.7.3. 36-45 Years 10.7.4. 46-55 Years 10.7.5. 66-75 Years 10.8. Current Market Analysis By Country (% of Demand) 10.8.1. China 10.8.2. Japan 10.8.3. South Korea 10.9. Key Findings, By Each Category 11. Categorizing of South Asia Film Tourism Sector 2021 11.1. Introduction/ Key Findings 11.2. Current Market Analysis By Location Type (% of Demand) 11.2.1. Film Sets 11.2.2. Destinations 11.2.3. Film Festivals 11.3. Current Market Analysis By Booking Channel (% of Demand) 11.3.1. Phone Booking 11.3.2. Online Booking 11.3.3. In Person Booking 11.4. Current Market Analysis By Tourist Type (% of Demand) 11.4.1. Domestic 11.4.2. International 11.5. Current Market Analysis By Tour Type (% of Demand) 11.5.1. Independent Traveler 11.5.2. Tour Group 11.5.3. Package Traveler 11.6. Current Market Analysis By Consumer Orientation (% of Demand) 11.6.1. Men 11.6.2. Women 11.7. Current Market Analysis By Age Group (% of Demand) 11.7.1. 15-25 Years 11.7.2. 26-35 Years 11.7.3. 36-45 Years 11.7.4. 46-55 Years 11.7.5. 66-75 Years 11.8. Current Market Analysis By Country (% of Demand) 11.8.1. India 11.8.2. Malaysia 11.8.3. Indonesia 11.8.4. Thailand 11.8.5. Philippines 11.8.6. Cambodia 11.8.7. Vietnam 11.8.8. Rest of SA 11.9. Key Findings, By Each Category 12. Categorizing of Oceania Film Tourism Sector 2021 12.1. Introduction/ Key Findings 12.2. Current Market Analysis By Location Type (% of Demand) 12.2.1. Film Sets 12.2.2. Destinations 12.2.3. Film Festivals 12.3. Current Market Analysis By Booking Channel (% of Demand) 12.3.1. Phone Booking 12.3.2. Online Booking 12.3.3. In Person Booking 12.4. Current Market Analysis By Tourist Type (% of Demand) 12.4.1. Domestic 12.4.2. International 12.5. Current Market Analysis By Tour Type (% of Demand) 12.5.1. Independent Traveler 12.5.2. Tour Group 12.5.3. Package Traveler 12.6. Current Market Analysis By Consumer Orientation (% of Demand) 12.6.1. Men 12.6.2. Women 12.7. Current Market Analysis By Age Group (% of Demand) 12.7.1. 15-25 Years 12.7.2. 26-35 Years 12.7.3. 36-45 Years 12.7.4. 46-55 Years 12.7.5. 66-75 Years 12.8. Current Market Analysis By Country (% of Demand) 12.8.1. Australia 12.8.2. New Zealand 12.9. Key Findings, By Each Category 13. Categorizing of Middle East and Africa Film Tourism Sector 2021 13.1. Introduction/ Key Findings 13.2. Current Market Analysis By Location Type (% of Demand) 13.2.1. Film Sets 13.2.2. Destinations 13.2.3. Film Festivals 13.3. Current Market Analysis By Booking Channel (% of Demand) 13.3.1. Phone Booking 13.3.2. Online Booking 13.3.3. In Person Booking 13.4. Current Market Analysis By Tourist Type (% of Demand) 13.4.1. Domestic 13.4.2. International 13.5. Current Market Analysis By Tour Type (% of Demand) 13.5.1. Independent Traveler 13.5.2. Tour Group 13.5.3. Package Traveler 13.6. Current Market Analysis By Consumer Orientation (% of Demand) 13.6.1. Men 13.6.2. Women 13.7. Current Market Analysis By Age Group (% of Demand) 13.7.1. 15-25 Years 13.7.2. 26-35 Years 13.7.3. 36-45 Years 13.7.4. 46-55 Years 13.7.5. 66-75 Years 13.8. Current Market Analysis By Country (% of Demand) 13.8.1. Turkey 13.8.2. South Africa 13.8.3. UAE 13.8.4. Egypt 13.8.5. Jordan 13.8.6. Rest of MEA 13.9. Key Findings, By Each Category 14. Competition Analysis 14.1. Competition Dashboard 14.2. Competition Benchmarking 14.3. Competition Deep Dive 14.3.1. IIFTC 14.3.1.1. Overview 14.3.1.2. Service Portfolio 14.3.1.3. Strategy Overview/campaigns 14.3.2. MP Tourism 14.3.2.1. Overview 14.3.2.2. Service Portfolio 14.3.2.3. Strategy Overview/campaigns 14.3.3. Tourism Film Destinations 14.3.3.1. Overview 14.3.3.2. Service Portfolio 14.3.3.3. Strategy Overview/campaigns 14.3.4. Scallywag Travel 14.3.4.1. Overview 14.3.4.2. Service Portfolio 14.3.4.3. Strategy Overview/campaigns 14.3.5. Onlocationtours 14.3.5.1. Overview 14.3.5.2. Service Portfolio 14.3.5.3. Strategy Overview/campaigns 14.3.6. Other Players (As Per Request) 15. Social Media Sentimental Analysis 15.1. Social Media Platforms Preferred 15.1.1. Facebook 15.1.2. YouTube 15.1.3. Instagram 15.1.4. Twitter 15.1.5. LinkedIn 15.1.6. Pinterest 15.1.7. Google+ 15.1.8. Others 15.2. Perceptions on the Proposed Film Tourism Sector Tour Package 15.3. Consumer Perception for Destinations On Social Media Platforms-Positive and Negative Mentions 15.4. Trending #Hashtags 15.5. Social Media Platform Mentions (% of Total Mentions) 15.6. Region-Wise Social Media Mentions (% of Total Mentions) 15.7. Trending Subject Titles 16. Assumptions and Acronyms Used 17. Research Methodology
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