Microsoft Word - n. 16 Pennacchia.doc AlmaTourism  Special  Issue  N.  4,  2015:  Pennacchia  M.,  Adaptation-­‐induced  Tourism  for  Consumers  of   Literature  on  Screen:  the  Experience  of  Jane  Austen  Fans             almatourism.unibo.it  ISSN  2036-­‐5195     This  article  is  released  under  a  Creative  Commons  -­‐  Attribution  3.0  license.     261     ABSTRACT     My   aim   in   this   article   is   that   of   starting   to   relate   the   expanding   research   field   of   adaptation   studies   to   the   subject   area   of   film-­‐induced   tourism.   Adaptations   are   a   specific  typology  of  films:  that  is,  films  whose  story  was  not  originally  intended  for  the   screen   but,   more   often   than   not,   for   the   written   page,   and   has,   therefore,   been   ‘translated’  into  a  new  medium.  The  phenomenon  of  adaptation  has  been  at  the  center   of  a  heated  debate  for  a  few  years  now,  but  the  specific  link  between  adaptation  and   tourism  has  not  yet  been  studied  in  its  own  right.  In  my  article  I  question  why  and  how   adaptations  of  literary  texts  for  the  screen  can  induce  a  desire  to  visit  film  locations   (actual  geographical  places)  in  readers  who  are  also  inclined  to  enjoy  the  experience  of   “literature  on  screen”.  In  order  to  do  this,  I  focus  on  the  case  study  of  adaptations  from   Jane   Austen’s   novels   and   on   a   specific   kind   of   tourists,   the   so   called   ‘Janeites’,   or   Austen  fans.     _________________________________________________________   Keywords:   Adaptation,   Heritage,   Participatory   Mode,   Literary   Tourism,   Pleasure   of   Repetition.                   *  Email  address:  maddalena.pennacchia@uniroma3.it         AlmaTourism      Journal  of  Tourism,  Culture  and  Territorial  Development Adaptation-­‐induced  Tourism  for  Consumers  of  Literature  on   Screen:  the  Experience  of  Jane  Austen  Fans     Pennacchia,  M.*   Roma  Tre  University  (Italy)           AlmaTourism  Special  Issue  N.  4,  2015:  Pennacchia  M.,  Adaptation-­‐induced  Tourism  for  Consumers  of   Literature  on  Screen:  the  Experience  of  Jane  Austen  Fans             almatourism.unibo.it  ISSN  2036-­‐5195     This  article  is  released  under  a  Creative  Commons  -­‐  Attribution  3.0  license.     262 In  her  “Introduction”  to  The  Advance  of  Film  Tourism,  a  special  issue  of  Tourism  and   Hospitality  Planning  &  Development,  Sue  Beeton  calls  repeatedly  for  “incorporation  of   multiple  disciplines  and  perspectives  into  the  study  of  film  and  tourism”  (2010,  p.  3).   My   aim   in   this   article   is   that   of   trying   to   answer   the   call   by   starting   to   relate   the   expanding   research   field   of   adaptation   studies   to   the   subject   area   of   film-­‐induced   tourism.   The  term  “Film-­‐Induced  Tourism”,  as  is  well  known,  was  introduced  for  the  first  time  by   Beeton  in  her  seminal  book  of  2005,  which  bears  the  same  title.  She  proposed  to  use  it   instead  of  “Movie-­‐Induced  Tourism”,  a  label  which  was  already  well-­‐established  at  the   time  of  her  writing,  because  she  aimed  at  enlarging  the  scope  of  the  field  by  including   “both  […]  movies  and  […]  television  films  such  as  mini-­‐series  and  even  soap-­‐operas”   (2005,  p.  8).  Such  a  shift  of  the  critical  focus,  therefore,  paved  the  way  to  scholars  who   were  interested  not  only  in  cinema,  but  in  television,  and  in  any  audiovisual  experience   that  could  prompt  and  shape  tourism  practices.  Hudson,  Wang  and  Gil,  for  instance,   highlight  the  results  of  a  recent  analysis  stating  that  “after  family  and  friends  and  the   Internet,  television  shows  and  films  were  the  next  key  influencer  on  the  decision  to   travel  to  a  particular  country”  (2011,  p.  178),  and  yet  they  also  admit  that  “we  do  not   have  a  clear  understanding  of  why  and  how”  this  happens,  “and  very  few  researchers   have   explored   the   phenomenon   in   any   detail”   (ibid.).   Enrico   Nicosia   is   among   them   (2012),   and   his   convening   of   this   special   issue   on   “The   Experiences   of   Film-­‐Induced   Tourism”  is  a  welcome  and  long  awaited  opportunity  for  scholars  to  tackle  the  impact   that  different  films  can  have  on  different  categories  of  tourists.     Taking  my  cue  from  these  premises,  I  would  like  to  contribute  to  this  special  issue  by   focusing  on  a  specific  typology  of  films:  that  is,  adaptations,  or  films  whose  story  was   not  originally  intended  for  the  screen  but,  more  often  than  not,  for  the  written  page,   and   has,   therefore,   been   ‘translated’   into   a   new   medium.   The   phenomenon   of   adaptation  is,  of  course,  very  complex  as  witnessed  by  an  articulate  debate  that  has   been   constantly   evolving   and   expanding   for   the   last   twenty   years   (see   Leitch   for   a   summary   of   different   critical   stands,   2008)   to   include   theoretical   concepts   such   as   intermediality   and   remediation   (see   Bruhn   et   al.   2013,   and   Pennacchia   2015);   the   specific  link  between  adaptation  and  tourism,  however,  has  not  been  studied  yet  in  its   own  right,  even  though  it  has,  of  course,  been  noticed  in  passing  by  some  scholars  (for   instance,   Higson,   2003,   p.   62);   it   is   to   this   relation   that   I   would   like,   therefore,   to   address  my  investigation.  More  to  the  point,  the  question  I  would  like  to  address  in  this   article  is  why  and  how  adaptations  of  literary  texts  for  the  big  and  small  screen  can   induce  a  desire  to  visit  film  locations  (actual  geographical  places)  in  readers  who  tend   to   enjoy   the   experience   of   “literature   on   screen”,   as   Deborah   Cartmell   and   Imelda   Whelehan  defined  the  phenomenon  of  film  adaptations  from  literary  texts  few  years   ago  (2007).  In  order  to  do  this,  I  will  focus  on  the  case  study  of  adaptations  from  Jane   Austen’s   novels   and   on   a   specific   kind   of   tourists,   the   so   called   ‘Janeites’,   or   the   community  of  Austen  fans.     It  is  a  truth  universally  acknowledged  among  commentators  today  that  the  high  tide  of   what   has   been   called   “Austenmania”   (Woods,   2007)   took   place   between   1995   and   AlmaTourism  Special  Issue  N.  4,  2015:  Pennacchia  M.,  Adaptation-­‐induced  Tourism  for  Consumers  of   Literature  on  Screen:  the  Experience  of  Jane  Austen  Fans             almatourism.unibo.it  ISSN  2036-­‐5195     This  article  is  released  under  a  Creative  Commons  -­‐  Attribution  3.0  license.     263 2005.  These  two  dates  mark  the  release  of  two  immensely  successful  adaptations  of   Pride  and  Prejudice,  probably  the  most  beloved  among  Austen’s  novels:  the  BBC  mini-­‐ series  starring  Colin  Firth  as  the  perfect  Mr  Darcy  (1995),  and  Joe  Wright’s  feature  film   where  the  British  celebrity,  Keira  Knightley,  played  a  restless  Elizabeth  Bennett  (2005).   It   is   important   to   notice   that   both   adaptations   were   filmed   according   to   the   conventions   of   costume   drama,   with   great   care   for   historical   details   in   setting   and   clothing,  and  an  artful  choice  of  English  locations,  showcasing  charming  landscapes  of   green  pastures  and  ivy-­‐covered  old  buildings.     The   allure   of   traditional   images   of   Britain,   like   those   used   in   Pride   and   Prejudice   adaptations,  made  of  spectacular  country  views,  magnificent  National  Trust  properties   and  exclusive  tea-­‐time  manners,  has  been  the  object  of  study  analysis  and  marketing   campaigns  by  the  British  tourist  industry  for  decades,  and  have  been  part  of  the  larger   and  much  controversial  debate  concerning  the  so  called  “heritage  industry”  (Hewison,   1987).  I  agree  with  Amy  Sargeant  that  “heritage  is  vital  to  the  appeal  of  Britain  as  a   tourist   destination”   (Sargeant   2000:   308);   however   if   heritage   is   not   only   what   has   been  objectively  inherited  from  the  past,  but  also  a  specific  attitude  towards  it,  then,  as   Andrew  Higson  puts  it,  “heritage  is  a  selective  preoccupation  with  the  past”  (Higson,  p.   50),  and  accordingly  “is  as  often  invented  or  revised  as  it  is  conserved”  (ibid.).  Heritage,   therefore,   is   not   only   a   shifting   notion,   but   a   political   approach   to   the   past   that   depends   very   much   on   the   attitude   that   each   Government,   be   it   Conservative   or   Labour,  decides  to  adopt  towards  it.  Historically  speaking,  this  has  meant  passing  from   Margaret   Thatcher’s   (nostalgic)   ideals   of   tradition   and   continuity   (that   led   to   the   institution  of  the  “Department  of  National  Heritage”  in  1992),  to  Tony  Blair’s  rejection   of  those  ideals  (and  Department,  quickly  renamed  “Department  of  Culture,  Media  and   Sport”  in  1997)  in  favor  of  an  entrepreneurial  image  of  ‘cool  Britannia’,  with  its  drive   towards  a  new  global  economy  (see  Higson,  pp.  48-­‐56).     However,  it  is  fair  to  say  that  all  Governments,  be  they  Conservative  or  Labour,  have   always   been   strategically   aware   of   the   inspirational   power   of   British   heritage   on   screen,  that  is  of  the  strong  connection  between  film  and  tourism.  It  will  suffice  here  to   say   that   The   British   Tourist   Authority,   the   tourist   board   of   Great   Britain,   issued   a   “Movie   Map”   of   the   UK,   the   first   of   the   kind   and   soon   to   be   imitated   by   other   countries,  as  early  as  1998.  Andrew  Higson  acutely  reminds  us  that  this  was  a  huge   marketing   campaign   to   sell   British   tourism   overseas,   with   “[m]ore   than   250,000   of   these  maps  were  sent  to  travel  agencies  in  North  America,  the  Far  East,  Australia,  and   Europe”  (Higson,  p.  59);  Higson  also  highlights  not  only  that  many  films  on  the  map   were  costume  dramas,  but  that  many  of  them  also  happened  to  be  adaptations  from   British   literary   classics,   including   Ang   Lee’s   Sense   and   Sensibility,   starring   Emma   Thompson  and  Kate  Winslet,  released  three  years  before  (1995).     Although  a  traditional  image  of  England  is  skillfully  packaged  in  Austen’s  adaptations  to   attract  general  viewers,  I  think  that  its  impact  can  be  particularly  effective  on  readers   of  Austen’s  novels,  and  this  for  reasons  that  have  to  do  with  her  style  of  writing.  To   start  with,  Austen  is  interested,  as  a  writer,  in  developing  socially  and  psychologically   intriguing   situations   as   they   are   revealed   through   a   subtle   use   of   language   in   AlmaTourism  Special  Issue  N.  4,  2015:  Pennacchia  M.,  Adaptation-­‐induced  Tourism  for  Consumers  of   Literature  on  Screen:  the  Experience  of  Jane  Austen  Fans             almatourism.unibo.it  ISSN  2036-­‐5195     This  article  is  released  under  a  Creative  Commons  -­‐  Attribution  3.0  license.     264 conversations,  but  descriptions  are  not  her  main  concern;  consequently,  they  are  very   scanty  or  given  with  few  strokes  of  the  pen  when  absolutely  needed.    Adaptations  for   the  screen  of  her  novels,  therefore,  do  help  the  reader  to  visualize  a  world  that  she   makes  ‘speak’  but  upon  which  she  looks  only  by  side-­‐glances,  leaving  to  others  the  task   of   fully   imagining   it.   In   other   words,   the   actual   locations   chosen   in   adaptations   as   setting  for  Austen’s  verbal  “conversation  pieces”,  can  strongly  appeal  to  the  desire  of   ‘seeing’  and  therefore  ‘possessing’  Jane’s  elusive  world.     The  actual  visualization  of  an  already  known  fictional  world  is,  as  far  as  I  am  concerned,   also  part  of  the  specific  impact  of  adaptations  on  tourism,  an  impact  that  is  based,  I   think,   on   the   pleasure   of   repetition.   When   Sue   Beeton,   for   instance,   describes   the   motivations  for  tourists  to  visit  film  locations,  she  writes  that  they  do  so  in  order  “to  re-­‐ live   an   experience   (or   even   emotion)   encountered   in   the   film,   reinforce   myth,   storytelling  or  fantasies,  or  for  reason  of  status  (or  celebrity)”  (2010,  p.  2).  Glen  Croy   and   Sie   Heitmann,   on   the   other   hand,   in   their   overview   of   the   main   themes   in   the   current   debate   on   film   tourism,   maintain   that   the   film’s   role   in   tourist   pre-­‐visit   experiences   is   that   of   informing   viewers   about   places   and   bringing   new   potential   destinations  in  mind,  either  showing  that  these  places  existed  or  adding  to  pre-­‐existing   images  of  places:  “increased  exposure,  via  viewing  the  film  again  or  viewing  other  films   produced   (or   set)   in   the   area,   allows   even   greater   levels   of   image   familiarity   and   complexity”   (p.   191).   Film-­‐induced   motivations,   therefore,   appear   to   me   very   much   alike  those  that  prompt  people  who  are  particularly  fond  of  a  specific  work  of  literature   to  re-­‐live  the  experience  of  it  over  and  over  again,   in  different  media,  thus  enjoying   what  Linda  Hutcheon  –  in  her  seminal  book,  A  Theory  of  Adaptation  (2006)  –  calls  a   “mixture  of  repetition  and  difference,  of  familiarity  and  novelty”  (Hutcheon,  p.  114).   The   enjoyment   of   adaptations   as   adaptations,   she   writes,   “comes   simply   from   repetition   with   variation,   from   the   comfort   of   ritual   combined   with   the   piquancy   of   surprise.   Recognition   and   remembrance   are   part   of   the   pleasure   (and   risk)   of   experiencing  an  adaptation”  (4).  Those  who  love  to  watch  their  favorite  stories  adapted   for  the  screen  (or  for  the  stage,  or,   lately,  even  as  graphic  novels)  are  probably  also   inclined  to  visit  the  locations  where  adaptations  were  shot  in  order  to  re-­‐live,  in  one   more  different  way,  similar  emotions,  thus  reinforcing  myth  and  storytelling.   To   better   understand   the   process,   we   may   recall   what   Linda   Hutcheon   usefully   describes   as   the   three   modes   through   which   people   can   engage   to   stories:   telling,   showing,  interacting.  In  the  “telling  mode”,  that  of  literature,  “our  engagement  [with  a   story]  begins   in  the  realm  of   imagination,  which   is  simultaneously  controlled  by  the   selected,  directing  words  of  the  text  and  liberated”  (p.  23);  in  the  “showing  mode”,  as   in  film  adaptations,  “we  are  caught  in  an  unrelenting,  forward-­‐driving  story.  And  we   have  moved  from  the  imagination  to  the  realm  of  direct  perception  –  with  its  mix  of   both   detail   and   broad   focus”   (ibid.).   The   third   mode   is   the   participatory   mode   that   happens  when  we  become  agents  and  engage  with  a  story  in  an  interactive  way,  either   rewriting  it,  for  example  in  fan  fiction,  or  plunging  into  it,  as  in  videogames  or  theme   parks,   “where   we   can   walk   right   into   the   world   of   a   Disney   film,   and   virtual   reality   AlmaTourism  Special  Issue  N.  4,  2015:  Pennacchia  M.,  Adaptation-­‐induced  Tourism  for  Consumers  of   Literature  on  Screen:  the  Experience  of  Jane  Austen  Fans             almatourism.unibo.it  ISSN  2036-­‐5195     This  article  is  released  under  a  Creative  Commons  -­‐  Attribution  3.0  license.     265 experience,  where  our  own  bodies  are  made  to  feel  as  if  they  are  entering  an  adapted   heterocosm”  (p.  51).     Many  readers  love  to  further  expand  the  ‘pleasure  of  the  text’  by  actually  engaging  the   text   not   only   in   the   telling   mode,   but   also   in   the   showing   mode,   through   film   adaptations,  and  finally  in  the  participatory  mode,  choosing  an  ‘immersive  experience’   that   means   entering   the   location   of   the   story   in   order   to   become   part   of   it.   More   importantly,  visiting  the  place  where  a  story  is  set,  and  its  adaptation  has  been  located,   can   transform   a   solitary   pleasure   into   a   sociable   experience   to   be   shared   with   a   ‘community’  of  people  with  similar   interests,  as   is  the  case  with  Janeites  (or  fans   in   general).  Choosing  film  locations  as  tourist  destinations  is,  in  this  case,  just  the  last  step   of  a  progressively  increasing  involvement  of  the  consumers’  bodies  into  the  storyline,   from  telling  to  showing  to  interacting.     Out  of  the  many  examples  that  can  be  brought  as  evidence  to  this  hypothesis,  I  have   chosen  the  advertisement  of  a  “Jane  Austen  Walking  Tour”  called  “Jaunt  with  Jane”  in   the  small  and  picturesque  sea-­‐town  of  Lyme  Regis,  on  the  Dorset  coast,  where  part  of   the  story  of  Persuasion,  Austen’s  last  novel,  is  set.  The  offer  is  advertised  on  the  page   of   “Jane   Austen   Related   Events”   in   “The   Republic   of   Pemberly”,   a   famous   website   devoted  to  “Jane  Austen  addicts”  (http://www.pemberley.com/),  and  visited  by  those   who  share  interest  in  all  things  Jane.  The  advertisement  poster  shows  a  frame  from  the   last  adaptation  of  Persuasion  (2007),  starring  Sally  Hawkins  and  Rupert  Penry-­‐Jones  as   Anne  Elliot  and  Captain  Wentworth  in  full  Regency  costume;  a  drawing  of  the  Cobb   Harbour,  Lyme’s  main  landmark,  is  also  displayed.  The  tour  organizer,  Natalie  Manifold,   who,  after  reading  English  at  the  University  of  Birmingham,  founded  a  company  called   “Literary  Lyme  Walking  Tours”  (http://www.literarylyme.co.uk/),  entices  the  followers   of  the  Republic  of  Pemberly  to  join  the  “Jaunt  with  Jane”  week-­‐end  with  these  words   (http://jauntwithjane.com/about/):             “If  you’re  feeling  like  a  break  then  this  is  the  perfect  restorative  tonic  for   you!   When   Captain   Wentworth   first   sees   Anne   Elliot   after   8   years’   absence,  he  believes  that  she  has  lost  her  bloom,  but  a  few  days  in  Lyme   Regis  restores  Anne’s  colour  &  they  are  once  again  together.     Let  the  restorative  tonic  of  re-­‐enacting  Regency  Lyme  give  you  a  bloom.   Whether  watching  the  wondrous  crashing  waves,  or  watching  the  pattern   of   the   seabirds.   […]   For   your   own   restorative   &   a   fine   time   in   Regency   Lyme,  book  your  Jaunt  with  Jane  ticket  now.”     According   to   the   advertisement,   therefore,   the   potential   (female)   tourist   will   very   much  benefit  from  the  “restorative  tonic”  of  “re-­‐enacting  Regency  Lyme”;  the  novel   and  adaptation’s  storyline,  whose  gist  is  the  protagonist’s  recovery  of  vitality  (plus  love   and  wealth),  is  therefore  used  as  a  hook  to  bring  visitors  to  this  small  English  seaside   resort.   As   Mike   Crang,   who   writes   about   the   popularization   of   Jane   Austen   and   tourism,   states:   “[f]aced   with   overseas   competition   and   changing   tastes,   the   English   tourist  industry  has  turned  to  specialist  tourism  as  a  means  of  selling  places”  (Crang  ,  p.   AlmaTourism  Special  Issue  N.  4,  2015:  Pennacchia  M.,  Adaptation-­‐induced  Tourism  for  Consumers  of   Literature  on  Screen:  the  Experience  of  Jane  Austen  Fans             almatourism.unibo.it  ISSN  2036-­‐5195     This  article  is  released  under  a  Creative  Commons  -­‐  Attribution  3.0  license.     266 117);   a   literary   tourism   offer   like   that   of   “Jaunt   with   Jane”   is   precisely   the   kind   of   specialist   tourism   Crang   has   in   mind   (even   though   the   examples   he   makes   are,   of   course,  different);  these  offers  are  addressed  mostly  to  overseas  tourists,  according  to   Crang,  and  consist  of  “touring  sacred  sites  of  secular  saints  in  a  modern-­‐day  reverential   ritual  that  shares  features  of  pilgrimage”  (ibid.).     In  the  case  of  “Jaunt  with  Jane”,  participants  will  literally  follow  in  the  footsteps  both  of   Anne   Elliot,   the   main   character   of   Persuasion,   and   Jane   Austen   herself,   who   visited   Lyme  Regis  on  two  separate  occasions  in  1803  and  1804;  her  decision  to  set  the  turning   point  of  Persuasion  in  Lymes  may  even  have  been  taken  after  walking  along  the  awe   inspiring  Cobb  Harbour,  where  she  has  the  character  of  Louisa  Musgrove  fall  from  the   steps  and  injure  herself  (tourists  pose  for  pictures  on  the  spot  that,  after  having  been   chosen  by  1990  and  2007  BBC  productions,  has  become  the  ‘authentic’  place).  In  his   article,  and  much  to  my  surprise,  Crang  never  mentions  Austen  adaptations,  let  alone   their  possible  influence  on  tourism.  In  this  respect,  he  seems  adamant  in  separating   reading   (literary   texts)   from   viewing   (films).   It   is,   apparently,   the   same   approach   embraced  by  Sue  Beeton  when  she  writes:       “[t]he  main  difference  between  literary  and  film  tourism  is  that,  in  relation   to  the  former,  visitors  often  go  to  the  regions  that  relate  personally  to  the   writer  (such  as  place  of  birth  and  death),  whereas  film  tourists  visit  the  sites   portrayed  or  places  of  the  stars  […]  by  the  beginning  of  the  21st  century   film  has  become  so  pervasive  that  its  influence  and  effect  outstrips  that  of   literature.   Film   is   to   literary   tourism   what   the   Boeing   747   was   to   mainstream  tourism  –  a  major  booster  for  mass  tourism.  We  have  moved   from  small,  niche-­‐based  personal  pilgrimage  literary  tours  to  the  mass  (and   at  times  over-­‐full)  visitation  of  film  sites”  (Beeton,  2005,  pp.  52-­‐3).       With   her   words   Beeton   seems   to   endorse   the   idea   of   a   gap   dividing   elite   literary   tourism  from  popular  film  tourism;  but  divisions  are  not  so  neat  when  adaptations  of   literary  texts  for  the  screen  are  at  stake;  in  Adaptation-­‐Induced  tourism  high  art  and   popular  culture,  elite  tourism  and  mass  tourism,  start  to  blur.     Adaptation-­‐Induced  tourists  rely,  in  fact,  both  on  the  book  and  the  film  to  make  sense   of  their  visiting  experience,  they  are  readers  as  well  as  viewers  (and  not  necessarily  in   this   order),   as   may   be   inferred   by   a   couple   of   “Testimonials”   of   “Jaunt   with   Jane”   (http://jauntwithjane.com/testimonials/):     “Thoroughly   enjoyed   this   walk.   Our   guide   (Natalie)   had   a   wealth   of   information  about  Jane  Austen’s  stay  in  Lyme  Regis,  as  well  as  the  various   ‘Persuasion’  locations.  It  brought  the  Musgrove’s  visit  to  Lyme  very  much  to   life”   And:   “We   went   on   the   Jane   Austen   tour   on   a   Sunday   lunchtime   –   this   is   not   usually  the  sort  of  thing  I  would  do  but  I  very  much  recommend  it.  Natalie   AlmaTourism  Special  Issue  N.  4,  2015:  Pennacchia  M.,  Adaptation-­‐induced  Tourism  for  Consumers  of   Literature  on  Screen:  the  Experience  of  Jane  Austen  Fans             almatourism.unibo.it  ISSN  2036-­‐5195     This  article  is  released  under  a  Creative  Commons  -­‐  Attribution  3.0  license.     267 certainly  knows  her  stuff  and  the  tour  was  really  interesting  and  enjoyable,   full  of  historical  insights.  I  hurried  home  to  watch  my  Persuasion  DVD!”     Through   Austen’s   novels   and   their   adaptations,   an   imaginary   Regency   England   is   “brought  back  to  life”,  right  on  the  sites  where  Austen’s  stories  unfold.  The  experience   of   Adaptation-­‐Induced   tourism   is,   therefore,   not   only   intermedial,   but   also   one   of   “interactive   storytelling”   (Hutcheon,   p.   51),   with   consumers   turning   into   agents   through  their  desire  of  repeating  the  story  on  location  and  re-­‐enacting  it  by  means  of   their  own  power  of  imagination.                                                                       AlmaTourism  Special  Issue  N.  4,  2015:  Pennacchia  M.,  Adaptation-­‐induced  Tourism  for  Consumers  of   Literature  on  Screen:  the  Experience  of  Jane  Austen  Fans             almatourism.unibo.it  ISSN  2036-­‐5195     This  article  is  released  under  a  Creative  Commons  -­‐  Attribution  3.0  license.     268 References   BEETON,   S.   (2005).   Film-­‐Induced   Tourism,   Clevedon,   Buffalo,   Toronto:   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