Indicators of sustainable development for cultural landscapes: Film sceneries and cultural heritage

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 S uc u al S udies, Repai s and Main enance o He i age A chi ec u e XVI 29 www.wi p ess.com, ISSN 1743-3509 (on-line) WIT T ansac ions on The Buil En i onmen , Vol 191, ©2019 WIT P ess 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 30 S uc u al S udies, Repai s and Main enance o He i age A chi ec u e XVI www.wi p ess.com, ISSN 1743-3509 (on-line) WIT T ansac ions on The Buil En i onmen , Vol 191, ©2019 WIT P ess 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], S uc u al S udies, Repai s and Main enance o He i age A chi ec u e XVI 31 www.wi p ess.com, ISSN 1743-3509 (on-line) WIT T ansac ions on The Buil En i onmen , Vol 191, ©2019 WIT P ess “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 32 S uc u al S udies, Repai s and Main enance o He i age A chi ec u e XVI www.wi p ess.com, ISSN 1743-3509 (on-line) WIT T ansac ions on The Buil En i onmen , Vol 191, ©2019 WIT P ess 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 S uc u al S udies, Repai s and Main enance o He i age A chi ec u e XVI 33 www.wi p ess.com, ISSN 1743-3509 (on-line) WIT T ansac ions on The Buil En i onmen , Vol 191, ©2019 WIT P ess 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 34 S uc u al S udies, Repai s and Main enance o He i age A chi ec u e XVI www.wi p ess.com, ISSN 1743-3509 (on-line) WIT T ansac ions on The Buil En i onmen , Vol 191, ©2019 WIT P ess 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”. S uc u al S udies, Repai s and Main enance o He i age A chi ec u e XVI 35 www.wi p ess.com, ISSN 1743-3509 (on-line) WIT T ansac ions on The Buil En i onmen , Vol 191, ©2019 WIT P ess 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. 36 S uc u al S udies, Repai s and Main enance o He i age A chi ec u e XVI www.wi p ess.com, ISSN 1743-3509 (on-line) WIT T ansac ions on The Buil En i onmen , Vol 191, ©2019 WIT P ess 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”. S uc u al S udies, Repai s and Main enance o He i age A chi ec u e XVI 37 www.wi p ess.com, ISSN 1743-3509 (on-line) WIT T ansac ions on The Buil En i onmen , Vol 191, ©2019 WIT P ess