Summaries Clave The global theme park industry
Chapter two
A theme park can be characterized as a symbolic microcosm with a distinctive identity that
proposes a complete emotional experience, a place of entertainment which has been
provided with its own homogeneous semiotics (Mitrasinovic, 1996), which is intensely
commercial and closely linked to the production of media images.
- The invention of theme parks
1. 1945-1970 Harvey period democratization and the suburban culture, because of
the baby boom growing mobility recreation industry with cinemas Disney
the alternative world (theme park / new genre park, because of 'credible illusions',
emotive characters and emotionally pure drawings in landscapes for entertainment.)
was built in 1992 and opened at 17 July 1955.
Fist theme park: Knott’s Berry farm (1920-1950) this results in a discussion to the
origins of theme parks:
first, the concept of theme as a basis of the idea of a theme park
Secondly, the idea that a theme park is a new genre of park in that its structure,
organization and operational system differ from those of their forerunners.
2. What are theme parks:
Entertainment landscapes created by architects and planners with a concrete
narrative intention.
Cultural creation, in which the landscape and the relationship between
spaces are fundamental and the requirements for transport, movement and
mobility are studied to perfection.
Fortresses separated by trees and structures from the surrounding area. The
purpose is to remove from the interior landscape of the park any reference to
outside.
Theme parks are organized to make profits not just through consumption in
the park and the rendering of services such as catering for weddings, parties
and conventions but also thanks to brand consumption, which their visitors
do inside and outside the parks. Parks are places for profit for the
corporations - generally linked to media groups - who own them.
Places where visitors can leap - to be entertained - into the past of more than
50, 60 or 70 years instead of falling victim to the continuous bombardment of
images featuring theme parks' own television and cinema personalities.
The changes in time and space that are rendered possible on the television screen
and are a common element of cinema products take place materially in theme parks
by just moving from one themed area to the next (Adams, 1991). This is, basically,
the most profound change established between the conventional amusement park
and a theme park.
Disney started with a pay-one-price admission system to the park (a system thought
up by Six Flags and which is today widespread in the sector).
,- The nature of theme parks
1. whereas amusement parks present numerous attractions in a relatively small area,
each of which has a specific price, theme parks present a small number of attractions
in a large-scale, landscaped environment - which does not generate revenue directly
- at a generally unique price (Zukin, 1995). But, in contrast, this environment is
meticulously designed to handle visitors so that they are entertained and, especially,
so that they spend money in an orderly, safe, relaxed atmosphere (Nye, 1981).
- Definition and types:
1. Characteristics theme parks:
They have a thematic identity that determines recreational alternatives.
They contain one or more themed areas.
They are organized as closed spaces or with controlled access.
They have a great capacity to attract families.
They contain enough rides, shows and systems of movement to create a visit that
lasts on average some 5 to 7 h.
They present atmospheric forms of entertainment (musicians, characters or actors
who perform in the street 'free of charge').
They have an important commercial vocation (fundamentally food and beverages
and shops).
They have high levels of investment per unit of ride or show capacity.
They have high-quality products, service, maintenance and standards of cleanliness.
They manage their productive and consumer processes centrally.
They incorporate technology as much in the production processes as in those of
consumption.
Generally, though exceptions do exist, they have a single ('pay-one price') admission
system.
2. The main reasons that justify the dynamic of the integration of parks in
environments of leisure and consumption are, in short, of an operative
and financial nature, namely:
Ensuring a good length of stay (7 h for several days)
Creating overnight stays through the diversification of the market
, Developing comparative advantages by broadening the market. Inducing return
visits.
Generating revenue by taking advantage of the demand for the principal
attraction.
Increasing the value of the land.
- The concept and utilities of themes
I. The aim of theming is to facilitate the organization of a complex, recreational
proposal around a single conceptual resolution.
II. The theme must refer to a story, an argument, which the visitor will assimilate
during his visit in a progressive process of identification.
III. providing a product with content and establishing the symbolic need to consume it
IV. Chazaud (1998) has determined the following characteristics concerning what
constitutes good theming:
The theme must be sufficiently rich to allow a mise-en-scene. The semantic
field of the theme must be well defined.
The theme, which must be adaptable to a visit, an animation or an
entertainment, has to be declinable and able to be broken down into
subelements. It must be able to facilitate an approach by scenic and dramatic
stages.
The theme must provide identity, a suitable image for the chosen place and
positive differentiation from other parks.
The theme must give cohesion to the whole and to the marketing strategy,
positioning, media presence, space organization and animation.
I. The realization of a park's themed contents can be done in three different ways (Wong
and Cheung, 1999):
Through a single theme throughout every aspect of the park, as in the case of
Warner Bros.
Through easily identifiable sub-themes in different areas or nodes of the park, as
is the case of Disneyland with Frontierland, Adventureland, Fantasyland,
Discoveryland and Main Street USA.
Through transitional themes, that is to say, themes that are created on the
occasion of special events which are only running during concrete periods of
time, as is the case of Halloween in many parks worldwide.
II. the theme can be spoken of from three perspectives: as an argument, as an
organizational foundation and as a marketing strategy.
1. As Swartzman (1995) states, theming is to do with the use of the story, spectacle and
technology in the creation of an atmosphere of entertainment that fosters a fantasy,
location or idea the packetization of the experience and the guarantee of productive
efficiency. Packetizing means, according to Ren (1998), eliminating the imprints of the
social relations of production that make the running of the park possible, standardizing
the appearance of all objects and keeping the purity of the products that are made
available to the consumers. Thus, for example, a park's services area is never on view to
Chapter two
A theme park can be characterized as a symbolic microcosm with a distinctive identity that
proposes a complete emotional experience, a place of entertainment which has been
provided with its own homogeneous semiotics (Mitrasinovic, 1996), which is intensely
commercial and closely linked to the production of media images.
- The invention of theme parks
1. 1945-1970 Harvey period democratization and the suburban culture, because of
the baby boom growing mobility recreation industry with cinemas Disney
the alternative world (theme park / new genre park, because of 'credible illusions',
emotive characters and emotionally pure drawings in landscapes for entertainment.)
was built in 1992 and opened at 17 July 1955.
Fist theme park: Knott’s Berry farm (1920-1950) this results in a discussion to the
origins of theme parks:
first, the concept of theme as a basis of the idea of a theme park
Secondly, the idea that a theme park is a new genre of park in that its structure,
organization and operational system differ from those of their forerunners.
2. What are theme parks:
Entertainment landscapes created by architects and planners with a concrete
narrative intention.
Cultural creation, in which the landscape and the relationship between
spaces are fundamental and the requirements for transport, movement and
mobility are studied to perfection.
Fortresses separated by trees and structures from the surrounding area. The
purpose is to remove from the interior landscape of the park any reference to
outside.
Theme parks are organized to make profits not just through consumption in
the park and the rendering of services such as catering for weddings, parties
and conventions but also thanks to brand consumption, which their visitors
do inside and outside the parks. Parks are places for profit for the
corporations - generally linked to media groups - who own them.
Places where visitors can leap - to be entertained - into the past of more than
50, 60 or 70 years instead of falling victim to the continuous bombardment of
images featuring theme parks' own television and cinema personalities.
The changes in time and space that are rendered possible on the television screen
and are a common element of cinema products take place materially in theme parks
by just moving from one themed area to the next (Adams, 1991). This is, basically,
the most profound change established between the conventional amusement park
and a theme park.
Disney started with a pay-one-price admission system to the park (a system thought
up by Six Flags and which is today widespread in the sector).
,- The nature of theme parks
1. whereas amusement parks present numerous attractions in a relatively small area,
each of which has a specific price, theme parks present a small number of attractions
in a large-scale, landscaped environment - which does not generate revenue directly
- at a generally unique price (Zukin, 1995). But, in contrast, this environment is
meticulously designed to handle visitors so that they are entertained and, especially,
so that they spend money in an orderly, safe, relaxed atmosphere (Nye, 1981).
- Definition and types:
1. Characteristics theme parks:
They have a thematic identity that determines recreational alternatives.
They contain one or more themed areas.
They are organized as closed spaces or with controlled access.
They have a great capacity to attract families.
They contain enough rides, shows and systems of movement to create a visit that
lasts on average some 5 to 7 h.
They present atmospheric forms of entertainment (musicians, characters or actors
who perform in the street 'free of charge').
They have an important commercial vocation (fundamentally food and beverages
and shops).
They have high levels of investment per unit of ride or show capacity.
They have high-quality products, service, maintenance and standards of cleanliness.
They manage their productive and consumer processes centrally.
They incorporate technology as much in the production processes as in those of
consumption.
Generally, though exceptions do exist, they have a single ('pay-one price') admission
system.
2. The main reasons that justify the dynamic of the integration of parks in
environments of leisure and consumption are, in short, of an operative
and financial nature, namely:
Ensuring a good length of stay (7 h for several days)
Creating overnight stays through the diversification of the market
, Developing comparative advantages by broadening the market. Inducing return
visits.
Generating revenue by taking advantage of the demand for the principal
attraction.
Increasing the value of the land.
- The concept and utilities of themes
I. The aim of theming is to facilitate the organization of a complex, recreational
proposal around a single conceptual resolution.
II. The theme must refer to a story, an argument, which the visitor will assimilate
during his visit in a progressive process of identification.
III. providing a product with content and establishing the symbolic need to consume it
IV. Chazaud (1998) has determined the following characteristics concerning what
constitutes good theming:
The theme must be sufficiently rich to allow a mise-en-scene. The semantic
field of the theme must be well defined.
The theme, which must be adaptable to a visit, an animation or an
entertainment, has to be declinable and able to be broken down into
subelements. It must be able to facilitate an approach by scenic and dramatic
stages.
The theme must provide identity, a suitable image for the chosen place and
positive differentiation from other parks.
The theme must give cohesion to the whole and to the marketing strategy,
positioning, media presence, space organization and animation.
I. The realization of a park's themed contents can be done in three different ways (Wong
and Cheung, 1999):
Through a single theme throughout every aspect of the park, as in the case of
Warner Bros.
Through easily identifiable sub-themes in different areas or nodes of the park, as
is the case of Disneyland with Frontierland, Adventureland, Fantasyland,
Discoveryland and Main Street USA.
Through transitional themes, that is to say, themes that are created on the
occasion of special events which are only running during concrete periods of
time, as is the case of Halloween in many parks worldwide.
II. the theme can be spoken of from three perspectives: as an argument, as an
organizational foundation and as a marketing strategy.
1. As Swartzman (1995) states, theming is to do with the use of the story, spectacle and
technology in the creation of an atmosphere of entertainment that fosters a fantasy,
location or idea the packetization of the experience and the guarantee of productive
efficiency. Packetizing means, according to Ren (1998), eliminating the imprints of the
social relations of production that make the running of the park possible, standardizing
the appearance of all objects and keeping the purity of the products that are made
available to the consumers. Thus, for example, a park's services area is never on view to
