This master thesis examines small co-produced films about Denmark to Russian television channels. In 2010-2012 a small Danish think tank Tourism Intelligence Institute (TII) successfully co-produced more than 60 films together with various small production teams from Russia. Danish tourism is in crisis, however the Russian market is promising and the market share increased by 25% in 2011 alone, during the period where the film were aired on nationwide channels. It looks like a best case. The research question is: How can co-production of films about Denmark to Russian television be used to develop tourism in Denmark? The master thesis is based on hermeneutics and thereby interpretive science tradition. The research strategy is a case study and focuses on practical knowledge with two approaches: 1. Co-production = The Danish-Russian collaboration in the production of the films. An empirical analysis based on personal interviews with the four Danish actors from TII and one Russian actor. 2. Co-productions = The films about Denmark. A focus group of six Russian participants comment on the Russian gaze in four selected film. This part of the analysis draws on two different cultural theoretical approaches: functionalism and social constructivism. The main conclusion is that the Danish and Russian actors attach crucial importance to the Russian gaze in the co-production. The Russians know best what interests the Russian TV-viewer (= potential tourist). The films reflect Russian preference patterns. Hence the collaboration and the Russian gaze can be used to develop tourism in Denmark. It can be seen as a common platform for employee- and user driven innovation. The method is based on an iterative learning process where the participants develop knowledge trough practice, and this knowledge may be transformed into tourism products addressing specific and diverse Russian target groups. “The Russian gaze” has reference to John Urrys` dynamic concept of “The Tourist Gaze”, which is constructed by several parameters including ethnicity. The analysis shows how the Russian gaze is produced, decoded and interpreted in very different ways – even by the individual actor. The perspective of the case study is that small dynamic units can create innovative platforms that move much more rapidly than the large bureaucracies, and thereby achieve success quickly. They can also change focus quickly change and adapt to new contexts in global tourism. The project closed down in 2012 and the actors now also focus on destinations outside Denmark. Keywords: co-production in tourism. Employee- and user driven innovation. Tourist film. The Russian gaze.
|Uddannelser||Master i Oplevelsesledelse (MOL), (Masteruddannelse) Master|
|Udgivelsesdato||6 sep. 2013|
|Vejledere||Kaare Bjørn Thomsen|
- co-production in tourism
- Tourist film
- Employee- and user driven innovation.
- The Russian gaze.