Dias, F ancisco; La a edas, Alexand a Mei a
A icle
Assessing he e ec i eness o ou ism p omo ional ideos:
C ea i i y, emo ional impac , pe cei ed quali y, and
a i ude owa ds he des ina ion
Adminis a i e Sciences
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Sugges ed Ci a ion: Dias, F ancisco; La a edas, Alexand a Mei a (2024) : Assessing he e ec i eness
o ou ism p omo ional ideos: C ea i i y, emo ional impac , pe cei ed quali y, and a i ude owa ds
he des ina ion, Adminis a i e Sciences, ISSN 2076-3387, MDPI, Basel, Vol. 14, Iss. 12, pp. 1-17,
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Ci a ion: Dias, F ancisco, and
Alexand a Mei a La a edas. 2024.
Assessing he E ec i eness o Tou ism
P omo ional Videos: C ea i i y,
Emo ional Impac , Pe cei ed Quali y,
and A i ude Towa ds he Des ina ion.
Adminis a i e Sciences 14: 323.
h ps://doi.o g/10.3390/
admsci14120323
Recei ed: 2 Oc obe 2024
Re ised: 15 No embe 2024
Accep ed: 15 No embe 2024
Published: 1 Decembe 2024
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A icle
Assessing he E ec i eness o Tou ism P omo ional Videos:
C ea i i y, Emo ional Impac , Pe cei ed Quali y, and A i ude
Towa ds he Des ina ion
F ancisco Dias and Alexand a Mei a La a edas *
Tou ism Depa men , Poly echnic Ins i u e o Lei ia, 2411-901 Lei ia, Po ugal; [email p o ec ed]
*Co espondence: alexand a.a a [email p o ec ed]
Abs ac : Tou ism p omo ional ideos (TPVs) a e widely used by des ina ion managemen o ganiza-
ions (DMOs) in p omo ional campaigns. Wi h he aim o opening new esea ch pe spec i es in he
ield o ou ism p omo ion, his a icle p oposes a model o e alua ing he e ec i eness o TPVs— he
Emo ie model—concep ually ancho ed in s udies on ans o ma ional and symbolic ad e ising. The
model desc ibes he in e ela ionship o ou cons uc s: a is ic alue, posi i e emo ional impac ,
pe cei ed quali y o he ideo, and pe cei ed quali y o he des ina ion. The model was es ed in
h ee empi ical s udies ca ied ou in pa allel and using he same me hodological p ocedu es o
quan i a i e analysis, applied o h ee samples o aling 674 indi iduals. The esul s show ha he
c ea i i y and o iginali y o TPVs elici posi i e emo ional eac ions, esul ing in a o able a i udes
owa ds he message and he des ina ion. This s udy is pa icula ly impo an because i p o ides
DMOs wi h a ool o e alua ing he e ec i eness o hei p omo ional ideos.
Keywo ds: ou ism p omo ion; ideos; a is ic alue; emo ional impac ; pe cei ed quali y; des ina ion
1. In oduc ion
The o ma ion o a des ina ion’s image in he minds o po en ial ou is s is la gely
based on in o ma ion p o ided by image- o ming agen s (Ga ne 1994;Tasci and Ga ne
2007). The e o e, he quali y and e ec i eness o he messages sen ou by DMOs a e c ucial
o he success o hei ma ke ing e o s. DMOs use a wide ange o ins umen s in hei
p omo ional campaigns, including ad e isemen s in he media, media ips, sponso ed
ele ision p og ams, pa icipa ion in ou ism ai s, di ec ma ke ing, and b ochu es. These
adi ional p omo ional ools a e complemen ed by echnological pla o ms ha use audio-
isual con en as he p e e ed means o communica ion and ha inc easingly in luence
decision-making. In his con ex , ideo, which is used by 91 pe cen o companies o
p omo ional pu poses (Video Ma ke ing S a is ics 2024), is becoming a undamen al ool
in des ina ion p omo ion campaigns, and is an impo an sou ce o in luence on ou is s’
decision-making (Cao e al. 2021).
In he ield o audio isual p omo ion, each DMO deals no only wi h compe i ion om
o he des ina ions, bu also wi h he my iad o audio isual messages abou i s own des i-
na ion ha a e emana ing om o he o ganiza ions and om consume s hemsel es. The
coexis ence o a my iad o ideos abou he same des ina ion can gene a e a ce ain le el o
noise, educing he e ec i eness o he messages b oadcas ed by he DMOs. The e o e, only
by e ec i ely in es ing in he quali y o he audio isual con en o hei campaigns, making
hei ideos “ i al”, can DMOs make hei own messages s and ou . Howe e , ou ism
s udies ha e comple ely igno ed he issue o he quali y o he con en o audio isual
campaigns p omo ing des ina ions. In ac , he e is a deep di ide be ween audio isual
ou ism p omo ion p ac ices, on he one hand, and scien i ic esea ch agendas on he o he .
Nowadays, one o he bigges challenges o des ina ion b ands is o ind c ea i e o ms
o online communica ion capable o s anding ou in he complex digi al noosphe e, gi en
Adm. Sci. 2024,14, 323. h ps://doi.o g/10.3390/admsci14120323 h ps://www.mdpi.com/jou nal/admsci
Adm. Sci. 2024,14, 323 2 o 17
he immense p oli e a ion o digi al con en gene a ed by ou is s, a ele s, blogge s,
and jou nalis s. In his con ex , i is impo an o de e mine unde wha condi ions he
p omo ional ideos o DMOs can ha e an impac on consume s. Despi e he undeniable
impo ance o p omo ional ideos o ou ism, he li e a u e e iew shows ha esea che s
ha e paid li le a en ion o s udying he pe suasi e e ec i eness o ideos as ou ism
image induc ion agen s.
This s udy aims o ill his gap by analyzing he condi ions o he e ec i eness o he
messages con ained in ou ism p omo ional ideos (TPVs). Mo e speci ically, i will ocus
on iden i ying he ype o con en in TPVs ha is mos likely o induce posi i e emo ions
and, hus, inc ease he e ec i eness o he messages. The aim is o p o ide DMOs wi h a
simple bu eliable diagnos ic assessmen ool o TPVs, enabling hem o p e- es di e en
e sions o hei ideos and choose, as he inal e sion, he one mos likely o impac
hei audiences.
To his end, a b oad e iew o he li e a u e on ad e ising echniques and pe suasi e
communica ion was ca ied ou , co e ing ou in e connec ed aspec s. Fi s ly, e e ence is
made o hedonis ic in o ma ion echnologies (Shayekina and Tleube dino 2012;Van de
Heijden 2004;Hsu and Lu 2007), which cha ac e ize he Web 3.0 echnological ecosys em,
as an al e na i e o mo e adi ional u ili a ian in o ma ion echnologies [Van de Heijden
2004;Hsu and Lu 2007;Holsapple and Wu 2007). Nex , s udies on psychological eac ance o
pe suasion a emp s a e conside ed (Hannah e al. 1975;Bleie and Eisenbeiss 2015;Ama na h
and Jaide 2021;Chen e al. 2019). Thi dly, ou ism s udies a e conside ed ha highligh he
ole o emo ions in he a ious s ages o he ou is expe ience: be o e, du ing and a e he
ip (Aho 2001;Knobloch e al. 2017;Hosany e al. 2020). Las ly, s udies on ad e ising ca ied
ou o e he las h ee decades a e conside ed, namely, s udies on hedonic and emo ional
ad e ising appeals (Albe s-Mille and Gelb 1996;Shayekina and Tleube dino 2012), s udies
on ans o ma ional ad e ising (Rossi e and Pe cy 1987;Joha and Si gy 1991;Cu le e al.
2000), and Mo ia y’s model o symbolic ad e ising (Mo ia y 1987).
The ele ance and o iginali y o his esea ch lies in he s udy o he pe suasi e
e ec i eness o TPVs h ough he c ea ion o an E ec i e Mo ie model (“Emo ie model”),
which aims o emphasize ha emo ions and a ec i e dynamics a e he co e ac o in he
audio isual ou ism p omo ion p ocess, as opposed o he excessi e emphasis ha has
been placed on cogni i e p ocesses in ou ism s udies.
2. Concep ual Backg ound
(A)
In o ma ion echnologies: p oduc i i y e sus pleasu e
The g owing p e e ence o online digi al media o e o line media is mos likely
ela ed o he ac ha he o me allow o in e ac i i y and play ul sociabili y (Holsapple
and Wu 2007). Se e al au ho s s ess he hedonis ic na u e o online media, ca ego izing
in o ma ion echnologies in o wo ypes: p oduc i i y- ocused echnologies e sus pleasu e-
ocused echnologies (Van de Heijden 2004;Hsu and Lu 2007;Holsapple and Wu 2007).
The e olu ion o he In e ne o Web 2.0, and la e o Web 3.0, is es imony o he pa adigm
shi in he media. Analog media (and Web 1.0) a e p oduc i i y- ocused echnologies
whose unc ion is o acqui e, s o e, e ie e, and dis ibu e in o ma ion, as well as o p ocess
he knowledge needed o pe o m ele an asks, such as decision-making (Holsapple and
Wu 2007). Tou ism p omo ion b ochu es and ca alogs a e communica ion o ma s sui ed o
p oduc i i y- ocused echnologies.
Pleasu e-o ien a ed communica ion echnologies, on he o he hand, inco po a e
hedonic elemen s, such as c ea i e and enjoyable con en , anima ed images, appealing
sounds and es he ically pleasing isual layou s, and can also p omo e in e ac i i y and
play ul in ol emen . These include online games, i ual wo lds (e.g., Second Li e), ideo
sha ing (e.g., YouTube), social ne wo ks and In e ne P o ocol Tele ision. Audio isual
ou ism p omo ion is beginning o ake ad an age o he immense possibili ies o e ed by
hese echnologies. The gami ica ion o des ina ions, s o y elling, and ic ional plo s a e
inc easingly p esen in TPV.
Adm. Sci. 2024,14, 323 3 o 17
(B)
Concealing pe suasi e in en : om eac ance o na a i e anspo
When a message is ca ego ized as “ad e ising”, i is immedia ely me wi h eluc ance
om consume s, who a oid i whene e hey can (Baek and Mo imo o 2012;Dodoo and
Wen 2019;Speck and Ellio 1997). The ejec ion o ad e ising can be explained by eac ance
heo y. Reac ance consis s o a nega i e psychological esponse as a means o esis ing
a emp s a pe suasion, which a e conside ed coe ci e, and which leads people o ac in
he opposi e di ec ion o he meaning eques ed in he message (Hannah e al. 1975;Bleie
and Eisenbeiss 2015;Ama na h and Jaide 2021;Chen e al. 2019). The indi idual a i ude
is, hus, in e ed as a ejec ion o wha is pe cei ed o be a h ea o pe sonal eedom
(Edwa ds e al. 2002). The e o e, in addi ion o zapping o a oid ad e ising messages, hey
may also encoun e audience eac ance. Fu he mo e, s udies on pe suasion show ha he
c edibili y o a message is lowe he mo e e iden he sende ’s pe suasi e in en is (see
Go lieb and Sa el 1991), as illus a ed in Figu e 1.
Adm. Sci. 2024, 14, x FOR PEER REVIEW 3 o 18
sounds and es he ically pleasing isual layou s, and can also p omo e in e ac i i y and
play ul in ol emen . These include online games, i ual wo lds (e.g., Second Li e), ideo
sha ing (e.g., YouTube), social ne wo ks and In e ne P o ocol Tele ision. Audio isual
ou ism p omo ion is beginning o ake ad an age o he immense possibili ies offe ed by
hese echnologies. The gami ica ion o des ina ions, s o y elling, and ic ional plo s a e
inc easingly p esen in TPV.
(B) Concealing pe suasi e in en : om eac ance o na a i e anspo
When a message is ca ego ized as “ad e ising”, i is immedia ely me wi h
eluc ance om consume s, who a oid i whene e hey can (Baek and Mo imo o 2012;
Dodoo and Wen 2019; Speck and Ellio 1997). The ejec ion o ad e ising can be
explained by eac ance heo y. Reac ance consis s o a nega i e psychological esponse as
a means o esis ing a emp s a pe suasion, which a e conside ed coe ci e, and which
leads people o ac in he opposi e di ec ion o he meaning eques ed in he message
(Hannah e al. 1975; Bleie and Eisenbeiss 2015; Ama na h and Jaide 2021; Chen e al.
2019). The indi idual a i ude is, hus, in e ed as a ejec ion o wha is pe cei ed o be a
h ea o pe sonal eedom (Edwa ds e al. 2002). The e o e, in addi ion o zapping o
a oid ad e ising messages, hey may also encoun e audience eac ance. Fu he mo e,
s udies on pe suasion show ha he c edibili y o a message is lowe he mo e e iden he
sende ’s pe suasi e in en is (see Go lieb and Sa el 1991), as illus a ed in Figu e 1.
Figu e 1. C edibili y, eac ance, and con ol o messages as ac o s in ou ism image o ma ion.
Sou ce: Adap ed om Ga ne (1994).
Tou ism p omo ion h ough adi ional o ms o ad e ising is associa ed wi h a low
le el o c edibili y (Ga ne 1994). In o de o inc ease he c edibili y o he message,
p e en eac ance and gene a e a s ong impac on audiences, des ina ion p omo e s and
he ou ism indus y a e op ing o mo e co e p omo ional echniques, using celeb i y
es imonials, p oduc /b and placemen me hods in ea u e ilms and TV se ies (A aújo
Vila e al. 2018; A aújo 2018) and, mo e equen ly, he p oduc ion o c ea i e and ic ional
ideos (Gong and Tung 2017).
Figu e 1. C edibili y, eac ance, and con ol o messages as ac o s in ou ism image o ma ion.
Sou ce: Adap ed om Ga ne (1994).
Tou ism p omo ion h ough adi ional o ms o ad e ising is associa ed wi h a low
le el o c edibili y (Ga ne 1994). In o de o inc ease he c edibili y o he message,
p e en eac ance and gene a e a s ong impac on audiences, des ina ion p omo e s and
he ou ism indus y a e op ing o mo e co e p omo ional echniques, using celeb i y
es imonials, p oduc /b and placemen me hods in ea u e ilms and TV se ies (A aújo
Vila e al. 2018;A aújo 2018) and, mo e equen ly, he p oduc ion o c ea i e and ic ional
ideos (Gong and Tung 2017).
The use o c ea i e audio isual p oduc ions wi h a s ong emo ional impac (especially
when hey ake on a aile o ma ) no only makes i possible o conceal he pe suasi e
in en h ough ic ional plo s, bu also o c ea e na a i e anspo a ion (Chen and Chang
2017;G een and B ock 2000), aking iewe s in o a an asy wo ld, a ousing mo e in ense
and mo e posi i e emo ional eac ions and numbing he c i ical sense, hus gene a ing a
mo e posi i e a i ude owa ds he message (Escalas 2004).
Th ough c ea i e ideos, ou ism p omo e s seek o imp ess iewe s (Hudson and
Ri chie 2006) and pe suade hem o isi a gi en des ina ion by men ally anspo ing
Adm. Sci. 2024,14, 323 4 o 17
hem o an expe ien ial si ua ion (Moye -Gusé2008). Good ideos elici posi i e emo ional
eac ions in he minds o po en ial ou is s (Schi man e al. 2013), as well as numbing hei
c i ical sense (Escalas 2004). The use o c ea i e images, s o ies, and plo s can build an
emo ional connec ion be ween a des ina ion and i s po en ial isi o s based on posi i e
des ina ion images (Mo gan e al. 2002).
(C)
The ole o emo ions in op imizing messages abou ou is expe iences
The e is a b oad consensus on he de e mining ole o emo ions in he ou is expe i-
ence (Aho 2001;Bas iaansen e al. 2019;Hosany e al. 2020;Knobloch e al. 2017;Tussyadiah
2014). Emo ions a e undamen al in he a ious s ages o he ime cycle o he ou is
expe ience:
1.
Be o e he ip, emo ions ac i a e a en ion and mo i a ion and shape expec a ions in
he p ocess o choosing he des ina ion (Gno h 1997);
2.
Du ing he ip, emo ions a y om momen o momen and in each loca ion, making
i easie o ou is s o adap o each si ua ion (Nawijn 2011);
3.
A e he ip, in he memo ies and social sha ing o he expe ience, posi i e and
nega i e emo ions a e eac i a ed in associa ion wi h he ecollec ion o ce ain e en s,
hus con ibu ing o hei consolida ion and pe pe ua ion in memo y (Bas iaansen
e al. 2019;Hosany e al. 2020).
The ele ance o emo ions in ou ism has been highligh ed in a numbe o s udies, o
example, in holiday ac i i ies (Hosany and P ayag 2013); in expe iences o pa icipa ing
in es i als in expe iences o isi ing heme pa ks (Bignée al. 2005); ad en u e ou ism
(Faullan e al. 2011); shopping ou ism (Yüksel and Yüksel 2007); ou ism o he i age si es
(P ayag e al. 2013); and isi s o scenic spo s (Wang and Lyu 2019).
To gene a e cus ome -based b and equi y o des ina ions, ou is s’ emo ional eac ions
a e o pa amoun impo ance, as hey a e p ecu so s o sa is ac ion wi h he des ina ion
(Faullan e al. 2011;Hosany e al. 2017), a achmen o he des ina ion (Yuksel e al. 2010),
beha io al in en ions ega ding ac i i ies o be ca ied ou a he des ina ion (P ayag e al.
2013;Yüksel and Yüksel 2007), and he o e all assessmen o he des ina ion’s image
(P ayag e al. 2017). In his sense, i can be said ha emo ions a e undamen al o p o iding
memo able ou is expe iences in des ina ions (Moyle e al. 2019).
•Emo ion as he cen e piece o p omo ional message p ocessing
S udies on he quali y o p omo ional ma e ials ha e ocused on iden i ying he mos
e ec i e s imuli o he mos app op ia e communica ion mix o gene a e he desi ed e ec
on audiences. These include measu ing he e ec o endo semen (Van de Veen and Song
2014), e alua ing celeb i y images (Wang e al. 2002), o e alua ing pic o ial and ex ual
s imuli (Wal e s e al. 2007). These s udies use a i ude owa ds messages, a i ude owa ds
he b and, o pu chase in en ion as indica o s o e ec i eness. The esea che s men ioned
abo e ocus only on how he manipula ion o ce ain conc e e ad e ising s imuli in luences
ad e ising e ec i eness. Howe e , in hese s udies, he men al p ocessing o ou ism
p omo ion messages is ea ed as a “black box” media ing be ween consume s’ exposu e o
p omo ional s imuli and he de elopmen o a i udes owa ds des ina ions, and is almos
ne e conside ed (Li e al. 2018).
Howe e , ou side o ou ism, he li e a u e on ad e ising e ec i eness emphasizes
he impo ance o emo ional esponses in consume s’ men al p ocessing. Acco ding o Li
e al. (2018), i has been empi ically e i ied ha emo ion ac s as an impo an p ecu so
o consume esponses such as a i udes owa ds ad e ising and he b and (Holb ook
and Ba a 1987), b and in e es (Mo is e al. 2002), and pu chase in en ion (Mo is e al.
2002). Mo e impo an ly, emo ional eac ions may, in ac , be a mo e eliable indica o o
ad e ising e ec i eness han cogni ion when he p oduc s o se ices a e hedonic in na u e
(Joha and Si gy 1991;Mo is e al. 2002). Wal e s e al. (2012) ound ha he emo ional
eac ions e oked by conc e e images o ou ism p omo ion a e posi i ely co ela ed wi h
in e es in he p oduc and pu chasing decisions. Howe e , he ou ism li e a u e lacks
Adm. Sci. 2024,14, 323 5 o 17
empi ical s udies on he ole o emo ions in ou ism in gene al and ou ism p omo ion in
pa icula .
•The impac o emo ional and c ea i e messages on ou ism p omo ion
The ac ha ou ism p omo ion s a egies based on ic ional, humo ous, and emo ional
messages a e gene ally success ul is due, acco ding o Ge (2019), o h ee complemen a y
logics o consume pa icipa ion:
(a)
An economic logic based on he “a en ion economy”: The mos aluable esou ce
in he in o ma ion age is no in o ma ion, bu he a en ion people pay o i (Lanham
2006); mo eo e , consume s end o pay mo e a en ion o emo ional and en e aining
messages ha gene a e in ol emen and commi men han o messages ha ex ol he
i ues o p oduc s (Leung e al. 2017).
(b) A social logic ha sugges s ha c ea i e and en e aining messages a e highly compa -
ible wi h “ne wo ked indi idualism” (Wellman e al. 2003): Endo sing he symbolic
meaning sha ed in c ea i e and en e aining messages can con ibu e o he c ea ion
o a eeling o common a ilia ion in a b and communi y logic.
(c)
A cul u al logic o pa icipa ion based on he no ion ha hedonic messages on so-
cial ne wo ks se e as b icks o complex cul u es ha en ice consume s o become
in ol ed in collec i e p ac ices wi h which hey iden i y (Bu gess and G een 2018).
A good, c ea i e p omo ional ideo wi h a s ong emo ional impac aims o imp ess
iewe s (Hudson and Ri chie 2006) and pe suade hem o isi a des ina ion by anspo ing
hem o an expe ien ial si ua ion (Moye -Gusé2008). The g ea e he emo ional impac
gene a ed by a ideo, he mo e likely i is o gene a e a “ elep esence” e ec (Cao e al.
2021;Hyun and O’Kee e 2012), i.e., o c ea e in he iewe he sensa ion o “being he e”
(S eue 1992). A ideo wi h a good c ea i e s o yline and a s ong emo ional slan has he
abili y o elici elep esence and he iewe ’s in ol emen wi h he des ina ion, hanks o
a mechanism o na a i e anspo a ion (Cao e al. 2021;G een and B ock 2000), de ined
as he iewe ’s imme sion in he s o y (Gong and Tung 2017). Na a i e anspo a ion
in ol es images, a ec , and ocus o a en ion (G een and B ock 2000).
In o de o make TPVs mo e e ec i e, DMOs end o ocus inc easingly on ic ional
con en , which mo e easily a ouses emo ional eac ions in he minds o po en ial ou is s
(Schi man e al. 2013). The use o images and s o ies in ic ional TPV can build an emo ional
connec ion be ween he des ina ion and iewe s, leading (po en ial) ou is s o o m posi i e
images o he des ina ion (Mo gan e al. 2002). Thus, displaying images, emo ions, and
s o ies in a ic ional VPT is mo e e ec i e in cap u ing ou is s’ a en ion (Chen e al. 2019).
(D)
Ad e ising appeals, ypes o o ma s, and ypes o ad e ising
Al hough ou ism li e a u e has ne e sys ema ically examined he pe suasi e con en
o TPV messages, i is possible o lea n aluable lessons om ad e ising s udies and
anspose hese lessons in o analyzing he e ec i eness o TPVs (Figu e 2). In his con ex ,
s udies on ypes o ad e ising, as well as ypes o ad e ising o ma s and ad e ising
appeals, a e pa icula ly impo an .
•U ili a ian and a ional e sus hedonic and emo ional ad e ising appeals
Au ho s who ha e analyzed he con en o ad e ising messages like Shayekina and
Tleube dino (2012) highligh wo ca ego ies o ad e ising appeals con ained in hese
messages: (1) u ili a ian and a ional appeals, he aim o which is o highligh he supe io i y,
quali y, economy, alue, o pe o mance o a p oduc . Wi h his ype o appeal, an a emp
is made o ocus he consume ’s a en ion on he p oduc ’s a ibu es; (2) hedonic and
emo ional appeals, he p ima y aim o which is o emphasize he emo ional and expe ien ial
dimension o consump ion, leading he consume o iden i y wi h he p oduc . In his
sense, he messages include s imuli wi h an emo ional impac in o de o induce posi i e
eelings in audiences. I should be no ed ha hese wo ypes o ad e ising appeals can be
combined in he same message and, he e o e, when analyzing he con en o messages,
i makes sense o conside a con inuum o a ia ions and hyb id si ua ions, he opposing
Adm. Sci. 2024,14, 323 6 o 17
poles o which a e “pu e” messages ha con ey only u ili a ian and a ional appeals, and
only hedonic and emo ional appeals.
•Li e al isual ad e ising e sus symbolic isual ad e ising
Mo ia y (1987) p oposed a ca ego ical model o analyzing he con en o p in
ad e ising, es ablishing a dicho omy be ween li e al ad e ising o ma s e sus symbolic
ad e ising o ma s. The li e al o ma uses he ollowing he o ical means: (1) iden i ica ion
(iden i ica ion o he b and, logo o packaging); (2) desc ip ion o componen s, a ibu es,
shape, and appea ance; (3) compa ison be ween “be o e” and “a e ”; (4) compa ison
wi h o he compe ing b ands; and (5) demons a ion, which consis s o in o ma ion on
how o use he p oduc . In con as , he he o ical de ices o he symbolic model a e
(1) associa ion wi h li es yles, ypical si ua ions, and people, cha ac e s, o celeb i ies;
(2) me apho s (allego ical use, unexpec ed subs i u ion based on simila i y wi h some
a ibu e; (3) s o y elling (use o na a i e, d ama and plo ); and (4) es he ics (use o a is ic
exp ession, abs ac ions, and es he ic pa e ns). La e s udies co obo a ed he applicabili y
o Mo ia y’s (1987) model o o he media such as ele ision and adio (An 2007;Cu le
e al. 2000).
•In o ma ional e sus ans o ma ional o expe ien ial ad e ising
The dicho omies men ioned abo e—1. p oduc i i y- ocused s. pleasu e- ocused
echnologies; 2. u ili a ian and a ional s. hedonic and emo ional appeals; 3. li e al s.
symbolic o ma s—a e ully in line wi h he classic ca ego iza ion o ad e ising o ma s,
namely, in o ma ional s. ans o ma ional o expe ien ial ad e ising (Pu o and Wells
1984;Rossi e and Pe cy 1987;Joha and Si gy 1991;Cu le e al. 2000). Fo hese au ho s,
in o ma ional ad e ising consis s o in o ming abou he key unc ional bene i s ha
a e conside ed impo an o consume s. I emphasizes he quali ies o he p oduc and
some imes speci ies ce ain ad an ages compa ed o compe ing p oduc s. In con as , ans-
o ma ional ad e ising consis s o inducing a high le el o emo ional in ol emen in he
consume ha acili a es g ea e accep ance o he p oduc . T ans o ma ional ad e ising
p esen s and emphasizes expe iences o consuming he p oduc , highligh ing i s bene i s in
e ms o li es yle, s a us, heal h, well-being, e c.
Adm. Sci. 2024, 14, x FOR PEER REVIEW 7 o 18
Figu e 2. Tou ism p omo ion modali ies. Sou ce: au ho s.
Conside ing ha , in oday’s digi al ecosys em, people’s a en ion o messages is an
inc easingly p ecious economic esou ce (Lanham 2006), in es men in he c ea i i y and
o iginali y o TPV con en has been conside ed a decisi e ac o in de ining success
o mulas. I is, he e o e, possible o delinea e wo dis inc , albei complemen a y, pa hs
in he ield o ou ism p omo ion (Figu e 2): on he one hand, a mo e adi ional pa h,
which was p edominan o almos exclusi e be o e he digi al age, in which p omo ion
ocused consume s’ a en ion on he a ibu es o he des ina ion; and, on he o he , a
dynamic and mo e c ea i e pa h, which uses digi al channels, compe es o i ali y
(consume endo semen ), and in es s in na a i e anspo o gene a e he sensa ion o
elep esence and he emo ional a achmen o audiences o he des ina ion. This s udy on
he effec i eness o VPTs i s in o his second op ion.
(E) Empi ical model and hypo heses
Applying he heo e ical con ibu ions in he ield o ad e ising, p esen ed abo e in
he li e a u e e iew, o he ield o ou ism allowed he au ho s o c ea e a model o
e alua ing he effec i eness o ou ism ideos, he Effec i e Mo ie model (“Emo ie
model”). This ac onym sugges s he usion o he e m’s “emo ion” and “mo ie”. The
Emo ie model emphasizes he ole o emo ion as a co e ac o in he audio isual ou ism
p omo ion p ocess, as opposed o he excessi e emphasis ha has been placed on
cogni i e p ocesses in ou ism s udies (see Figu e 3). The alida ion o his model could
p o ide DMOs wi h a simple bu eliable diagnos ic assessmen ool o TPVs, enabling
hem o p e- es diffe en e sions o hei ideos and choose as inal e sions hose mos
likely o impac hei audiences.
Figu e 2. Tou ism p omo ion modali ies. Sou ce: au ho s.
Conside ing ha , in oday’s digi al ecosys em, people’s a en ion o messages is an
inc easingly p ecious economic esou ce (Lanham 2006), in es men in he c ea i i y and
o iginali y o TPV con en has been conside ed a decisi e ac o in de ining success o -
mulas. I is, he e o e, possible o delinea e wo dis inc , albei complemen a y, pa hs in
Adm. Sci. 2024,14, 323 7 o 17
he ield o ou ism p omo ion (Figu e 2): on he one hand, a mo e adi ional pa h, which
was p edominan o almos exclusi e be o e he digi al age, in which p omo ion ocused
consume s’ a en ion on he a ibu es o he des ina ion; and, on he o he , a dynamic and
mo e c ea i e pa h, which uses digi al channels, compe es o i ali y (consume endo se-
men ), and in es s in na a i e anspo o gene a e he sensa ion o elep esence and he
emo ional a achmen o audiences o he des ina ion. This s udy on he e ec i eness o
VPTs i s in o his second op ion.
(E)
Empi ical model and hypo heses
Applying he heo e ical con ibu ions in he ield o ad e ising, p esen ed abo e
in he li e a u e e iew, o he ield o ou ism allowed he au ho s o c ea e a model
o e alua ing he e ec i eness o ou ism ideos, he E ec i e Mo ie model (“Emo ie
model”). This ac onym sugges s he usion o he e m’s “emo ion” and “mo ie”. The
Emo ie model emphasizes he ole o emo ion as a co e ac o in he audio isual ou ism
p omo ion p ocess, as opposed o he excessi e emphasis ha has been placed on cogni i e
p ocesses in ou ism s udies (see Figu e 3). The alida ion o his model could p o ide
DMOs wi h a simple bu eliable diagnos ic assessmen ool o TPVs, enabling hem o
p e- es di e en e sions o hei ideos and choose as inal e sions hose mos likely o
impac hei audiences.
Adm. Sci. 2024, 14, x FOR PEER REVIEW 8 o 18
Figu e 3. Model o e alua ing he effec i eness o ou ism ideos (Emo ie model). Sou ce: Own
elabo a ion based on Cade e al. (2017) and Escalas (2004).
The alida ion o he Emo ie model p esupposes he empi ical es ing o he
ollowing hypo heses:
Hypo hesis 1 (H1). The a is ic alue o a VPT di ec ly and posi i ely in luences i s emo ional
impac on he iewe . I is hypo hesized ha he e is a posi i e co ela ion be ween pe cep ions o
he c ea i i y and o iginali y o ideos and he in ensi y o he posi i e emo ions el by iewe s
when wa ching hese ideos.
Hypo hesis 2 (H2). The a is ic alue a ibu ed o a VPT posi i ely in luences i s pe cei ed
quali y. Thus, ideos a ed as being e y c ea i e and e y o iginal a e a ed as being highe quali y
ideos, and ice e sa.
Hypo hesis 3 (H3). The a is ic alue a ibu ed o a VPT posi i ely in luences he pe cei ed
quali y o he des ina ion p omo ed in he ideo. In o he wo ds, he e is a posi i e co ela ion
be ween e alua ions o he c ea i i y and o iginali y o VPTs and e alua ions o he pe cei ed
quali y o he des ina ions p omo ed by hese VPTs.
Hypo hesis 4 (H4). The posi i e emo ional impac o a VPT di ec ly and posi i ely in luences he
pe cei ed quali y o ha VPT. In o he wo ds, he e is a posi i e co ela ion be ween he “emo ional
impac ” and “pe cei ed quali y o he ideo” a iables.
Hypo hesis 5 (H5). The posi i e emo ional impac o a VPT di ec ly and posi i ely in luences he
pe cei ed quali y o he des ina ion desc ibed in ha VPT. In o he wo ds, he e is a posi i e
co ela ion be ween he “emo ional impac ” and “pe cei ed quali y o he ideo” a iables.
Hypo hesis 6 (H6). The e is a posi i e co ela ion be ween he pe cei ed quali y o he VPT and
he pe cei ed quali y o he des ina ion ha hese VPTs p omo e.
3. Ma e ials and Me hods
3.1. Empi ical S udies, S imulus Ma e ial, and Ope a ionaliza ion o he Cons uc s
The alida ion o he VPT effec i eness assessmen model was ca ied ou in h ee
empi ical s udies implemen ed in pa allel, using six ilms compe ing in ART&TUR—
In e na ional Tou ism Film Fes i al (Viseu 2020) as he s imulus ma e ial. Each s udy
in es iga ed wo diffe en ilms, bu using he same me hodology: he same da a collec ion
sc ip , he same ques ionnai e, and a ilm e alua ion g id common o he a ious es i als
Figu e 3. Model o e alua ing he e ec i eness o ou ism ideos (Emo ie model). Sou ce: Own
elabo a ion based on Cade e al. (2017) and Escalas (2004).
The alida ion o he Emo ie model p esupposes he empi ical es ing o he ollowing
hypo heses:
Hypo hesis 1 (H1). The a is ic alue o a VPT di ec ly and posi i ely in luences i s emo ional
impac on he iewe . I is hypo hesized ha he e is a posi i e co ela ion be ween pe cep ions o he
c ea i i y and o iginali y o ideos and he in ensi y o he posi i e emo ions el by iewe s when
wa ching hese ideos.
Hypo hesis 2 (H2). The a is ic alue a ibu ed o a VPT posi i ely in luences i s pe cei ed
quali y. Thus, ideos a ed as being e y c ea i e and e y o iginal a e a ed as being highe quali y
ideos, and ice e sa.
Hypo hesis 3 (H3). The a is ic alue a ibu ed o a VPT posi i ely in luences he pe cei ed
quali y o he des ina ion p omo ed in he ideo. In o he wo ds, he e is a posi i e co ela ion
be ween e alua ions o he c ea i i y and o iginali y o VPTs and e alua ions o he pe cei ed quali y
o he des ina ions p omo ed by hese VPTs.
Adm. Sci. 2024,14, 323 8 o 17
Hypo hesis 4 (H4). The posi i e emo ional impac o a VPT di ec ly and posi i ely in luences he
pe cei ed quali y o ha VPT. In o he wo ds, he e is a posi i e co ela ion be ween he “emo ional
impac ” and “pe cei ed quali y o he ideo” a iables.
Hypo hesis 5 (H5). The posi i e emo ional impac o a VPT di ec ly and posi i ely in luences
he pe cei ed quali y o he des ina ion desc ibed in ha VPT. In o he wo ds, he e is a posi i e
co ela ion be ween he “emo ional impac ” and “pe cei ed quali y o he ideo” a iables.
Hypo hesis 6 (H6). The e is a posi i e co ela ion be ween he pe cei ed quali y o he VPT and
he pe cei ed quali y o he des ina ion ha hese VPTs p omo e.
3. Ma e ials and Me hods
3.1. Empi ical S udies, S imulus Ma e ial, and Ope a ionaliza ion o he Cons uc s
The alida ion o he VPT e ec i eness assessmen model was ca ied ou in h ee empi -
ical s udies implemen ed in pa allel, using six ilms compe ing in ART&TUR—In e na ional
Tou ism Film Fes i al (Viseu 2020) as he s imulus ma e ial. Each s udy in es iga ed
wo di e en ilms, bu using he same me hodology: he same da a collec ion sc ip , he
same ques ionnai e, and a ilm e alua ion g id common o he a ious es i als in he
CIFFT—In e na ional Commi ee o Tou ism Film Fes i als (CIFFT) ne wo k, o which he
ART&TUR Fes i al is a membe .
I is impo an o no e ha he p omo ional ilms ha ake pa in he CIFFT ne wo k
es i als ea u e con en ha essen ially co esponds o he symbolic ad e ising o ma ,
as desc ibed by Mo ia y (1987), namely, he associa ion wi h li es yles o celeb i ies, use
o me apho s and s o y elling, emphasis on es he ic elemen s, and a sound ack (music)
wi h a s ong emo ional impac . In addi ion, hese ilms ha e he ollowing common
a ibu es: (i) hey a e sho ideos (2 o 4 min) ha can be easily ci cula ed on social
ne wo ks; (ii) hey ha e a high le el o c ea i i y, bo h in e ms o music and sound ack
and in e ms o image; (iii) a e o a high s anda d o o iginali y, emphasizing he symbolic
and emo ional aspec s ha p opi ia e na a i e anspo in o de o induce a achmen
o he des ina ion and elep esence; (i ) lea e he cha ac e izing a ibu es o des ina ion
images in he backg ound; and ( ) ocus he a en ion o hei audiences on na a i es
wi h c ea i e and ic ional plo s, which a ouse imagina y d eamlike ela ionships wi h
he des ina ion.
This s udy used a chi e ma e ial om he 2020 edi ion o he ART&TUR Fes i al,
as i was he yea in which he e we e ilms wi h e y simila cha ac e is ics, namely,
(1) all 6 ilms we e equally a ed by he Fes i al ju y (o e all a e age o 88 poin s ou
o a maximum o 100, esul ing om he assessmen o a panel o 27 in e na ional ju y
membe s); (2) all 6 ilms p omo e ou is des ina ions; and (3) hey inco po a e o iginal
music, which is likely o ha e an emo ional impac on iewe s. Fu he mo e, as shown
in Table 1, i was possible o pai he ilms 2 by 2, based on he ollowing h ee c i e ia:
(a) music wi h a s ong emo ional and nos algic impac — ilms 1 and 2; (b) s ong emphasis
on ou is sociabili y: young couple e sus amily wi h child en— ilms 3 and 4; (c) cul u al
con as — ocus on na i e cul u e e sus ocus on an exo ic cul u e— ilms 5 and 6. Th ee
pa allel s udies we e he e o e o ganized, each using wo ilms as s imulus ma e ial, wi h
he aim o gauging he alidi y o he Emo ie model.
Howe e , he six ilms di e ed in wo signi ican pa ame e s, namely, he coun ies
o o igin and ypes o ou is expe iences: ilm 1: No way, showing close-ups and na u e
landscapes; ilm 2: C oa ia (Rijeka), emphasizing cul u al expe iences in an u ban con-
ex ; ilm 3: Po ugal (Alga e), wi h a g ea di e si y o landscapes and loca ions; ilm
4: Spain (Cos a Do ada), wi h images ha show an a mosphe e o anquili y and joy;
ilm 5: Po ugal (Alga e), wi h an emphasis on ac i e ou ism—cyclis s iding along a
cycle pa h; ilm 6: Japan (Takahama), wi h a s ong emphasis on mys ical expe iences in
na u al su oundings.
Adm. Sci. 2024,14, 323 15 o 17
Da a A ailabili y S a emen : The da a p esen ed in his s udy a e a ailable on eques om he
co esponding au ho .
Con lic s o In e es : The au ho s decla e no con lic s o in e es .
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