INDICATORS OF SUSTAINABLE DEVELOPMENT FOR
CULTURAL LANDSCAPES: FILM SCENERIES AND
CULTURAL HERITAGE
ESTHER SAN SEBASTIÁN POCH1, URTZI LLANO-CASTRESANA1 & ANDER DE LA FUENTE ARANA2
1Depa men o Enginee ing in Bilbao, Uni e si y o he Basque Coun y, UPV/ EHU, Spain
2Depa men o A chi ec u e in San Sebas ian, Uni e si y o he Basque Coun y, UPV/ EHU, Spain
ABSTRACT
Cul u al ou ism is a good way o p omo e and sa egua d he cul u al he i age o a place. Cul u al
ou ism includes ilm ou ism, which consis s o hose places whe e cinema and TV p oduc ions ha e
been sho . This can con ibu e o aluing he local cul u al he i age o , by con as , o ei ying i and,
consequen ly, o he loss o i s au hen ic and i s iden i y. In he ollowing a icle we p opose a sys em
o indica o s o sus ainable de elopmen in o de o e alua e and gua an ee long- e m sus ainabili y in
hose places iden i ied wi h adi ional cul u al he i age and ha ha e become ilm scene ies. Once
he s udy cases ha e been iden i ied, he cul u al landscapes ha a e going o be e alua ed will be
de ined. To do ha , we will iden i y and selec he ilm scene ies acco ding o he deg ee o
concilia ion be ween hese and cul u al he i age. The impac on socie y o he cinema p oduc ions will
also be aken in o accoun . The union amongs he ilm scene ies h ough he local he i age (buil
he i age, landscape he i age, e c.) will esul in one o se e al cul u al landscapes whe e he balance
be ween he wel a e o he hos socie y and he ou ism demands will be e alua ed. To pu in o
p ac ice he ollowing me hodology, he His o ic Cen e o Peñíscola has been chosen o be e alua ed.
This was decla ed a His o ic-A is ic Si e in 1972 and has a long his o y as ilm scene y, which has
con ibu ed o i s alua ion and has b ough i close o he audience.
Keywo ds: ilm ou ism, ilm scene ies, cul u al he i age, cul u al landscapes, indica o s o
sus ainable de elopmen , deg ee o concilia ion.
1 INTRODUCTION
Cul u al ou ism is said o be “ ha o m o ou ism whose objec is, among o he aims, he
disco e y o monumen s and si es” [1]. I is a highly demanded o m o ou ism and,
because o his, i is a good way o alue, p omo e and, consequen ly, p ese e he
adi ional cul u al he i age [2, p. 1] as long as i is co ec ly managed. Howe e , he
ela ion be ween cul u al he i age and cul u al ou ism is cons an ly e ol ing. I is always
adap ing o he new ou ism endencies and demands, which a e a he and a he om he
poin s o in e es o he adi ional and oo ed cul u al he i age and close o o he
componen s o a global and sha ed collec i e imagina ion such as gas onomy, spo s o
cinema. In he ollowing a icle we aim o ocus on and look in-dep h in o he la es , he
cinema. Mo e speci ically, we aim o look in-dep h in o he ilm scene ies and how hey
in luence he cul u al he i age.
Film scene ies a e said o be places whe e cinema p oduc ions ha e been sho and ha
nowadays ha e become an impo an poin o a ac ion o ou is s. Mo ie-induced ou ism
which encou ages ou is s o isi hose ilm scene ies is known as “Film Tou ism” [3].
Film ou ism can be bene icial in p omo ing ou ism des ina ions and hei local he i age.
Howe e , he audience seems o eel mo e a ac ed o hose imagina y wo lds c ea ed
by cinema and TV a he han by he au hen ici y o he si es and hei monumen s. These
scene ies become pa o he cul u al legacy o a si e, being iden i ied wi h he la es . Due o
his, adi ional cul u al he i age is being elega ed o a second place and, in some cases, i
is being dep i ed o i s ue iden i y, being led in o ei ica ion. In addi ion, his new ou is
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doi:10.2495/STR190031
p oduc encou ages a new mass o ou is s o come o hese loca ions, o which hey may
no be p epa ed, making changes in hei adi ional li es yles in a ou o ou ism
demands. In sho , hey change hei iden i y.
A cons an and dizzying g ow h o ou ism demands, among which ilm ou ism is
included, jus i ies an inc eased in e es o he de ini ion o sys ems o indica o s applied o
ou is des ina ions as a means o he e alua ion o he deg ee o sus ainabili y. In his
a icle, a sys em o indica o s o sus ainable de elopmen is p oposed in o de o e alua e
bo h he deg ee o sus ainabili y o hose des ina ions iden i ied wi h a adi ional cul u al
he i age and hei u u e p ospec , especially a e he shoo ing o one o a la ge ange o
cinema p oduc ions ha ha e had some impac in socie y. The indica o s mus p o ide
in o ma ion egula ly and mus be e iewed om ime o ime, so ha a long- e m
sus ainabili y can be gua an eed.
A model o sus ainabili y in ends o gua an ee he balance be ween ou ism demands and
he wel a e o he hos socie y by espec ing he la es ’s socio-cul u al au hen ici y, making
a good use o i s en i onmen al esou ces and c ea ing ac i i ies ha p o ide sus ainable
economic bene i s o i s agen s in he long- e m [4].
The e is a g ea a ie y o sys ems o indica o s and all o hem consis o wo pa s: a
selec ion and an e alua ion c i e ia o indica o s. Wi h ega d o he o me , we will ake
he selec ion c i e ion p oposed by he UNWTO and documen ed in he book “Indica o s o
Sus ainable De elopmen o Tou ism Des ina ions. A Guide Book” [5] as a e e ence.
Acco ding o UNWTO, he selec ion c i e ion is di ided in o wo phases: he iden i ica ion
o ou ism des ina ions, hei a ac ions and he isks uncon olled ou ism would in ol e
and he selec ion o he indica o s [5, pp. 28–30, 43–49]. The la es can be app oached om
wo pe spec i es: a selec ion o he indica o s h ough which he igh ques ions could be
asked o he iden i ica ion and selec ion o he ques ions o which we would need o
eques in o ma ion and alida e he sou ces o in o ma ion.
Once he indica o s ha e been selec ed, we aim o e alua e hem. Howe e , hese a e
many and di e se, measu able wi h a la ge ange o me ics (m2, % o de e io a ion, e c.) o
no measu able. The numbe o indica o s mus be educed and a uni o measu emen mus
be s a ed. Fo hese easons and because we will pa ly be based on he ollowing concep ,
we will go o he “syn he ic indica o s”.
The use o syn he ic indica o s allows us bo h o educe he numbe o indica o s
wi hou educing he olume o in o ma ion and o quan i y wha is no quan i iable (deg ee
o sa is ac ion, he deg ee o sus ainabili y, e c.). The analys is esponsible o he elec ion
o indica o s and he e alua ion c i e ion. “He will s anda dise and ponde he in o ma ion,
emo ing some o he subjec i e aspec s, which a e pa o he syn he ic measu e and
inhe en o analys , as he is in ol ed in he subjec o s udy” [6]. In o he wo ds, he e is no
me hod be e han ano he o cons uc a syn he ic indica o . I is only he analys ’s elec ion
o an agg ega ion p ocess based on he needs and conce ns o he s udy hey a e ca ying
ou . In sho , we will do he same wi h he sys em o indica o s p oposed.
2 A JUSTIFICATION FOR THE METHODOLOGY
Howe e , why do we need a new sys em o indica o s? Why don’ we make use o hose
al eady exis ing? As wi h he exis ing ones, we will make use o an agg ega ion p ocess so
ha we can summa ise he selec ed indica o s in h ee g oups (syn he ic indica o s), each o
hem co esponding o each o he indica o s o sus ainable de elopmen (socio-cul u al,
en i onmen al and economic). Bu unlike hese, we don’ sea ch o nei he he
quan i ica ion o wha is no quan i iable, no he supp ession o he subjec i e cha ac e
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implied in he ques ions o he s udy and, he e o e, in hei indica o s and e alua ion
me hod. No because i can’ be done, bu because i should no be done.
The e a e se e al ac o s which a e cons an ly changing and e ol ing such as he ones
ela ed o cul u e. “Cul u e is one o hose concep s ha is said o be mig an , which means
i s meaning is pe manen ly changing in bo h a spa ial and ime ame. The subjec i i ies o
cul u e’s con en a e as di e se as he socie ies and he indi iduals ha de elop and alue
a pa icula cul u al exp ession” [7]. Tha is why we ques ion he iabili y o he exis ing
sys ems o indica o s and hei applica ion o di e se ields. And o he same easons, he
sys em o indica o s we p opose is mo e quali a i e, applicable o all hose si es which a e
conce ned wi h he p ese a ion o hei adi ional cul u al iden i y due o an uncon olled
ilm ou ism. Howe e , each si e will always keep i s single and subjec i e cha ac e , which
means all he s udy cases shouldn’ be alued acco ding o he same pa ame e s.
In o de o ca y ou he ollowing me hodology, we mus ask ou sel es how he ilm
scene ies a e chosen. The con ec ion o he di e se scene ies s a s wi h elemen s ha build
he si e such as he buil he i age, he landscape he i age, e c. These ones highligh he
indi idual, au hen ic cha ac e o he si e, o an added alue ha makes i di e en om
he es and he e o e, mo e accu a e and sui able o he a gumen and he se ing o he
cinema p oduc ions. Such componen s o he si e c ea e a link be ween eali y and ic ion,
making possible a ce ain deg ee o concilia ion be ween hem, wi hou he la es
o e shadowing he o me . The he i age alue o a si e plus he alue added by he cinema
equals a la ge ange o s udy cases, each o hem unique and un epea able.
F om now on, we shall s a wi h ou p oposal o a sys em o indica o s. Apa om he
al eady men ioned cha ac e is ics o he si es we a e abou o e alua e, we will igh en
he ci cle by ocusing on small o medium-sized coas al owns, wi h he beach and he sun
as o he ou is a ac ions, which means we a e ocusing on si es which should be ligh ly
used o ou ism. Fo a be e unde s anding o he me hodology and o p o e i s iabili y, a
s udy case will be exposed. In his case, he His o ic Cen e o Peñíscola has been chosen.
This was decla ed a His o ic-A is ic Si e in 1972, has g ea expe ience in ilm scene ies
ha da es back o he beginning o he 20 h cen u y and ha has con ibu ed o p omo e bo h
i s buil and landscape he i age a in e na ional le el.
3 A PROPOSAL OF A METHODOLOGY
The ollowing me hodology will consis o h ee phases: he de ini ion and delimi a ion
o he e alua ion scope o cul u al landscape; he selec ion o he i ems and he
indica o s o sus ainable de elopmen (socio-cul u al, en i onmen al and economical) and
hei e alua ion.
3.1 The de ini ion and delimi a ion o he e alua ion scope
The i s phase is subdi ided in o ou sec ions: he de ini ion o he ou is des ina ion, he
iden i ica ion o he ilm scene ies and bo h he cul u al and na u al asse s ha compose
hem, he isual pe cep ion o he cul u al landscapes om o he poin s o iew and he
inal composi ion o he cul u al landscapes o be e alua ed.
3.1.1 The de ini ion o he ou is des ina ion
To de ine he ou is des ina ion, we will make use o he classi ica ions documen ed in
he al eady men ioned “Indica o s o Sus ainable De elopmen o Tou ism Des ina ions. A
Guide Book”. Amongs all he classi ica ions, he ones ha bes i he ype o ou is
des ina ion o be e alua ed a e: “Small and T adi ional Communi ies” [5, pp. 281–282],
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“Buil He i age Si es” [5, 99. 278–281] and “U ban Tou ism” [5, pp. 282–286], e e ing o
hose si es iden i ied wi h a single buil he i age and o which i is wo h isi ing. The
“Coas al Zones” [5, pp. 247–251], he “Beach Des ina ions and Si es” [5, pp. 251–253] and
he “Na u al and Sensi i e Ecological Si es” [5, pp. 263–268] p o ided wi h a g ea a ie y
o highly demanded ecosys ems o bo h local esiden s and ou is s will be included.
Re e ing o he His o ic Cen e o Peñíscola, his is composed o he Old Town o a
esiden ial complex su ounded by Middle-Aged and Renaissance walls and i s immedia e
su ounding known as he “In luence A ea”. Besides he walls, inside he Old Town s and
ou o he singula buildings such as he Cas le o Peñíscola, he Pa ochial Chu ch o he
Chu ch “La E mi aña”.
The Old Town is loca ed on a na u al encla e (limes one ock) ha was o iginally linked
o he land ia a sandy is hmus ha li le by li le has been a ec ed by he con inuous wo ks
on he ex ension p ojec o he po a he sou he n side o he si e o by he p og essi e
cons uc ion o esiden ial buildings o ou is s a he wes e n side o he si e o alongside
he is hmus ha s a ed in he 40s. These wo ks ha e con ibu ed o he loss o iden i y and
he en i onmen al deg ada ion o he si e, since he sandy is hmus has pa ly disappea ed.
3.1.2 The iden i ica ion o he ilm scene ies and bo h cul u al and na u al
he i age asse s ha compose hem
Once he ou is des ina ions ha e been selec ed, we will p oceed o he iden i ica ion
and he selec ion o he ilm scene ies and wi h ha , he iden i ica ion o bo h cul u al and
na u al asse s ha compose hem. Fi s ly, a lis o all he cinema and TV p oduc ions ha
ha e been sho in he selec ed ou is des ina ions will be made. Howe e , he e may be a
lo o ilms o TV se ies in ha lis and hei s o ylines and, consequen ly, hei se ings
may be e y di e en om each o he . Fo hese easons, a selec ion c i e ion o he cinema
p oduc ions will be se . This will be based on he ollowing wo c i e ia: he deg ee o
concilia ion amongs he elemen s ha make up he si e (a chi ec u al, u ban, landscape,
e c.) and he se ing o he cinema p oduc ions; he deg ee o app ecia ion o he audience a
di e en le els (local, na ional, in e na ional le el). The o me will highligh he indi idual
cha ac e o each o he ou is des ina ions.
The ilm his o y o Peñíscola da es back o he i s decade o he 20 h cen u y and,
nowadays, emains i m. I s long lis poin s ou ilms such as “Calabuch” (Be langa, L.G.,
1956), “El Cid” (Mann, A., 1961), “Todos e an Culpable” (Klimo sky, L., 1962) o he
mo e ecen and popula “Game o Th ones” (2011–2019). Due o he buil and landscape
cha ac e is ics o he His o ic cen e o Peñíscola, we will op o his o ical cinema
p oduc ions ha bes i he a o emen ioned cons uc ions. Ha ing aking in o accoun he
deg ee o concilia ion o bo h he ilm scene ies and he cha ac e is ics o he si e and he
deg ee o accep ance o he di e se cinema p oduc ions, we ha e inally op ed o he
ollowing s udy cases: “El Cid” (1961) [8] and “Game o Th ones” (2015) [9]. The s udy
cases will be e alua ed sepa a ely.
A e iden i ying and selec ing he inal cinema p oduc ions, we will ha e o iden i y he
ilm scene ies and he buil o landscape he i age ha makes hem up. To do ha , a
decons uc ion p ocess h ough which we will decompose each ilm scene y by iden i ying
and sepa a ing he cul u al goods om he added deco a ions (s age deco a ions, special
e ec s in ilms) will be de eloped. In o he wo ds, we will sepa a e eali y om ic ion. To
begin wi h, we will ha e o s a wi h a b ie desc ip ion o he s o y and he se ing o he
ilms, so ha we can igu e ou wha is eal and wha may ha e been added.
Fo he shoo ing o he ilm “El Cid”, he His o ic Cen e o Peñíscola was con e ed
in o he ci y o Valencia in he 11 h cen u y. Al hough his ci y was ounded by he
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Romans, in he 11 h cen u y his was unde he A ab’s eign, which means he e mus ha e
been pe cei ed he A ab in luence in he s ee s. Wi h ega d o “Game o Th ones”, he
Renaissance walls o Peñíscola became he walls o a ic ional own called “Mee en”.
Al hough i seems o be a medie al own, he e is no much in o ma ion abou i .
La e , we will hen iden i y all he ilm sequences whe e he ilm scene ies appea . We
will ha e o eso o he ilms o TV se ies hemsel es and cap u e all he ames (images)
o which he sequences consis . Each sequence will be labelled wi h he i le o he ilm o
TV se ies, he season and he chap e (in case i is a TV se ies), a b ie desc ip ion o he
scene and he minu e o he p ojec ion.
Once all he sequences ha e been iden i ied, we will iden i y he ilm scene ies.
The e o e, we will make use o a loca ion plan wi h di e en scales, acco ding o he
numbe and he a ea o he ilm scene ies, he con ex o which hey belong (di e en si es,
hei monumen s, e c.), he le el o de ail, e c.
In he case o he ilm “El Cid”, a o al o se en sequences o ganised in h ee di e en
ilm scene ies ha e been iden i ied: he Ramp o Felipe II and i s immedia e su oundings,
he Ga e o San Pe e and he No he n Beach, wi h he Old Town o Peñíscola as a
backs age. Re e ing o “Game o Th ones”, du ing he six h season, a o al o ou
sequences dis ibu ed o e h ee chap e s and o ganised in wo ilm scene ies ha e been
ound. The ilm scene ies a e he al eady men ioned Ramp o Felipe II and he Pa que
de la A ille ía. As we can obse e, he same si e can become se e al di e en ilm
scene ies (Fig. 1).
Figu e 1: Loca ion plan o he ilm scene ies. “El Cid” (in ed), “Game o Th ones” (in
blue), ilm scene ies in common (in pu ple).
A e delimi ing he a ea o he ilm scene ies, we will keep ack o he ilm sequences
o e he loca ion plan and, i i was possible, in si u. On he same plan, we will d aw he
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s o yline o he ele an sequences, indica ing he con inui y o discon inui y o hem.
Along he ilm ou es, he app oxima e loca ion and o ien a ion o he ilm came as will
be se . In addi ion o he ilm ou es, some ames (images) o he ilm sequences will be
included. The images will be o ganised ch onologically and each o hem will e e o one
o he came as se on he plan (Fig. 2). The inclusion o he images will help us in bo h he
comp ehension o he ilm sequences on he plan and in si u and he o al space cap u ed by
he came as and i s dep h o ield. The images will be di ec ly cu ou o he ilms o TV
se ies, so ha he images can main ain he leng h- o-wid h ela ionship. Each o he
sequences will co espond o one plan.
Figu e 2: The Ramp o Felipe II and i s immedia e su oundings. Film sequence
“Conspi acy”, (“El Cid”).
On he e y same loca ion plan, we will iden i y and indica e he he i age goods ha
compose he ilm scene ies (Fig. 3). In case ha mo e han one sequence o e en mo e han
one cinema p oduc ion had been sho in he same scene y, we could be dealing wi h
in o ma ion o e load and we would need o esume i and documen ed in jus one plan by
keeping hose came as ha would gi e us as much in o ma ion as possible and ge ing id
o he es . The came as o ien a ed o a clea s age deco a ion will be empo ally ejec ed.
Once all he he i age goods in he ilm scene ies ha e been iden i ied, hey will be loca ed
on he same loca ion plan o on ano he plan a a lowe scale, so ha we can pe cei e he
o al a ea o he ilm scene ies.
Amongs he immo able goods, we can di e en ia e be ween cul u al buil he i age and
he na u al he i age [2, p. 2]. The buil he i age is di ided in o wo g oups: he buildings o
he monumen al cons uc ions plus hei immedia e su oundings and he open u ban spaces
plus he buildings a ound hem ha delimi a e hei a ea. Fo he collec ion o he mos
ele an da a on bo h cul u al and na u al he i age like he he i age alue o hese, hei
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deg ee o p o ec ion, he s a e o p ese a ion, e c., we will make use o local egula ions
such as Special P o ec ion Plans o He i age, Ca alogues, Special Plans o bo h In e nal
and Ex e nal Re o m, e c. We will also eso o na ional and in e na ional egula ions.
Despi e he ac ha bo h cinema p oduc ions we e sho in di e en ilm scene ies, hey
sha e one o hem: he Ramp o Felipe II and i s immedia e su oundings. I consis s o he
Ba e ies o he Obli ion, Cal a y and San a Ma ía, he Balcony o Pila us, he esiden ial
complex on he wes ace o he hill and he Old Town as a whole in he dis ance.
As we ha e iden i ied he he i age goods and ha e documen ed hem on he p e ious
plans, we will do he same wi h he s age deco a ions and he special e ec s addi ions in
ilms (Fig. 3). As we ha e men ioned be o e, in he ilm “El Cid”, he His o ic Cen e o
Peñíscola became he ci y o Valencia in he 11 h cen u y, which was unde he A ab eign
and o which ce ain ype o deco a ions such as A ab a ches, Ho seshoe a ches, e c. had o
be added. In addi ion, a ake wall has been de ec ed alongside he sandy is hmus and in he
wes ace o he hill, so ha he esiden ial complexes o ou is ha ha e been buil since
he decade o he 1940s we e hidden. Wi h ega d o “Game o Th ones” he e ha e been
de ec ed mo e special e ec s addi ions in he scene ies a he han s age deco a ions.
Among hese, a g ea py amid a he op o he hill has been de ec ed.
Figu e 3: The o al a ea o he ilm scene y: he Ramp o Felipe II and i s immedia e
su oundings. Buil he i age ( he Ramp o Felipe II (1), (2), he Ba e ies o he
Obli ion (1), (2), o he Cal a y (1), (4), (5) and o S a. Ma y (3) and s age
deco a ions. “El Cid”.
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3.1.3 The isual pe cep ion o he cul u al landscapes om o he poin s o iew
Once he p ocess o decons uc ion is o e , we will con inue wi h he de ini ion o he
cul u al landscape. The ollowing sec ion is en i led “The isual pe cep ion o he cul u al
landscapes om o he poin s o iew” and p oposes a pe cep ion o he p e iously d awn,
bu un inished cul u al landscape om di e en pa hs o ci ilian ansi in he dis ance. The
pe cep ion o he landscapes om o he poin s o iew will p o ide us wi h a mo e global
and cohe en ision o hem, s anding ou i ems o o he elemen s no p esen in he ilm
scene ies, bu highly p ominen in he landscapes. Fo hese easons, hese i ems mus be
included in he inal landscape.
3.1.4 The inal composi ion o he cul u al landscape
To end he de ini ion o he cul u al landscape, we will ha e o collec all he p e ious plans
and supe impose hem in o one single plan, so we can isualise he inal landscape (Fig. 4).
Figu e 4: The inal composi ion o he cul u al landscape and all he i ems ha compose i .
3.2 The i ems and indica o s o sus ainable de elopmen
Once he cul u al landscape has been de ined, we will ask he ques ions ha need o be
answe ed and exp ess ou conce ns ha need o be sol ed and, consequen ly, he indica o s
ha suppo hem. To do his, i s ly, we will appeal o he p e iously men ioned
“Indica o s o Sus ainable De elopmen o Tou ism Des ina ions. A Guide Book”, whe e a
la ge ange o conce ns acco ding o he di e se ou is des ina ions ha e been documen ed
[5, pp. 58–59, 76–82, 91, 112–113, 124–125, 147]. Some o hese will be selec ed and
collec ed in a i s lis . La e , we will gene a e a second mo e pe sonal lis ela ed o he
ilm scene ies and how hey can in luence he cul u al he i age o he ou is des ina ions.
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The s udy o he wo lis s will esul in a inal selec ion o ques ions and in he indica o s
and he sou ces o in o ma ion.
A e ha ing s udied bo h lis s, he inal ques ions will be “p o ec ing and p omo ing he
cul u al alue o he si e”, “ ou ism as a con ibu o o socio-cul u al and en i onmen al
changes” and “cul u e and economic de elopmen o a si e”.
3.2.1 P o ec ing and p omo ing he cul u al alue o a si e
So ha we can e alua e he i s ques ion, we will appeal o he al eady men ioned “deg ee
o concilia ion” amongs bo h cul u al and na u al he i ages and he ilm scene ies. In case
he e we e mo e han one ilm scene y in he e alua ion scope o cul u al landscape, i
would be in e es ing o c ea e a link h ough he local he i age esul ing in one o se e al
cul u al i ine a ies (some may exis ) ha p omo e bo h he adi ional cul u al ou ism and
ilm ou ism. These cul u al i ine a ies and indica o s will be called “S uc u es o cul u al
in e es . Film scene ies and Cul u al he i age”.
3.2.2 Tou ism as a con ibu o o socio-cul u al and en i onmen al changes
The second ques ion will be e alua ed h ough he ollowing indica o s: “The sa is ac ion
o he basic and he complemen a y demands alongside he s uc u es o cul u al in e es ”
and “The isual impac managemen o he cul u al landscape”. The o me aims o
e alua e he deg ee o sa is ac ion o bo h he basic ( anspo in as uc u es,
accommoda ion, ca e ing) and complemen a y (en e ainmen , leisu e, e c.) demands
alongside he exis ing o non-exis ing cul u al ou es. The la e , howe e , in ends o
e alua e he (u ban, aes he ic, e c.) e olu ion and he s a e o p ese a ion o he cul u al
landscapes h oughou he cul u al ou es o in he dis ance, e e ing o he poin s o iew
p oposed in he p e ious sec ion “Visual pe cep ion o he landscape” and o he s.
To s udy he e olu ion and de elopmen o he cul u al landscapes, we will ha e o
eso o local egula ions such as u ban planning amewo ks, Special P o ec ion Plans o
He i age, Special Plans o Re o m, pho og aphs, local es imonies, e c.
Ano he ac o o ake in o accoun is he human ac o , in o he wo ds, he p esence o
ou is s in he hos communi ies and how hey a ec he day o day li e o he local
esiden s. The exis ence o non-exis ence o Tou ism P omo ion Plans, sa is ac ion su eys
o inhabi an s and ou is s, e c. will be conside ed and alued.
3.2.3 Cul u e and economic de elopmen o a si e
To e alua e he hi d and las ques ion, we will make use o hese wo indica o s: “Tou is
o e ”, e e ing o all hose cul u al ac i i ies o e ed by he hos communi ies and “Use
In ensi y” be o e and a e he shoo ing o a ilm o TV se ies.
3.3 The applica ion o he me hodology. The e alua ion o he indica o s o
sus ainable de elopmen
Al hough he numbe o ques ions has been educed o h ee and, wi h hese, he numbe o
indica o s, we need o educe hem a li le bi mo e be o e p oceeding o he inal
e alua ion. Wi h ega d o he al eady men ioned “syn he ic indica o s”, whose main
unc ion consis s o educing he numbe o indica o s wi hou educing he quan i y and
he con en o he in o ma ion, we aim o eo ganise and, hanks o ha , o simpli y all he
indica o s w i en abo e in o wo g oups: “S uc u es o cul u al in e es : Cul u al
He i age, Cinema and Cul u al Tou ism” and “Basic demands: he uses o he buildings
and open spaces”.
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