When a travel tv channel
goes online: a map
Giulio Lizzi a,
Francesca Borrione a, and
Lorenzo Cantoni b
a
University of Perugia, Italy
[email protected]
[email protected]
b
webatelier.net
Università della Svizzera italiana, Switzerland
[email protected]
Mapping the Magazine 3, Cardiff University 2011
Abstract
In this paper, digital hybridization of television travel channels is studied, presenting how they are
using their online presence to extend their reach and widen their business. Thanks to a grid,
designed to cluster all types of content and functionalities offered online by 30 travel channels and
programs, a picture of their actual use of the internet has been taken and discussed. When entering
the online world, travel channels get many elements that are not affordable through broadcasting,
while at the same time losing other elements. But this process is not just a matter of adding or
removing features, rather, it requires to a deep re-consideration of travel representation itself,
offering venues for new business models and for a new alliance between the channels themselves
and their audience. According to Grierson (1966), documentary is the creative treatment of
actuality, and gives meaning to time and space fragmentation. The camera works as a filter on
reality and the filmmaker uses his cine-eye (Vertov, 1924) to catch the unaware. Representation of
reality is the result of the filmmaker’s ability to discover the truth and propose it to the audience.
While TV focuses on audio-visual suggestions to draw the audience’s attention, the web is an
interactive space that allows to get, share, and produce texts, photos or videos. In the websites
analysed, users can create and re-create impressions, discover places, search on interactive maps,
build their own travel plans. This paper also focuses on how travel channels on the web are using
web 2.0 functionalities in order to give a more complex representation of the world and also a
deeper awareness about intercultural dialogue.
1. Literature review
1.1. Documentary as a creative treatment of actuality
In this paper, online communication of travel channels is analyzed. According to Lev Manovich, as
the role of a computer is shifting from being just a tool to being a universal media machine, we are
increasingly "interfacing" to predominantly cultural data: texts, photographs, films, music, virtual
environments. In short, we are no longer interfacing to a computer but to culture encoded in digital
form. Manovich introduces the term "cultural interfaces" to describe evolving interfaces used by
the designers of websites, multimedia encyclopaedias, online museums, computer games and other
digital cultural objects (Manovich, 1997). We have three key cultural forms: cinema, printed word
and human-computer interface (Manovich, 2001): cinema as moving image, camera techniques,
narrative schemes, editing; printed word as the most important part of the traditional cultural
form; HCI as how the user interacts with the computer technology. Cinema and television use
similar codes. The camera works as a filter on reality, as the filmmaker uses his “cine-eye” to catch
the unaware in his own perspective (Vertov, 1924). Representation of reality is the result of the
author’s ability to discover the truth and propose it to the audience, which is made up of people
with different perspectives and cultural backgrounds. According to Grierson (1966), documentary
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is the creative treatment of actuality, and gives meaning to time and space fragmentation. As
television is shifting in the multimedia environment, the integrity of the message is broken into
different elements – such as audio, video, text, image. But that integrity is not definitively lost, as
users are able to explore the multimedia environment and build their own perspective and path,
following their own interests and needs. That is an actualisation process (Levy, 1997), which needs
human creativity to be undertaken.
1.2. Online channels as a new way of experiencing travel
Fürsich and Kavoori (2001) noted five reasons why travel journalism needed to be studied more
deeply: (1) the boom of the tourism industry; (2) tourism and its impact remains under-studied; (3)
leisure is a significant social practice; (4) travel journalism is an important place for international
communication research; and e) travel journalism has special contingencies as it is a highlycharged discourse strongly affected by public relations. The advent of the internet, among all the
previous media, has deeply changed our perspective on tourism. In fact, there is a significant
difference between watching travel tv channels and visiting their websites. In tv travel programs,
the author has a main role: s/he is the cine-eye and has the fair perspective on the subject; s/he
knows what to tell, how to tell it and how to capture the audience. Using images, s/he can educate
the audience in understanding different cultures, traditions, places and people. This is a peculiarity
of the authorial documentary. In fact, websites – being based on an interactive structure and
offering sharing tools – enhance the heuristic dimension, since users can explore and find their
own path. Websites needs the user. Travel websites offer the elements of tv programs (such as
video, audio, text) combined in an interactive platform, where users can find information, imagine
and plan their own trip, and somehow moving from the virtual to the real. Travel websites offer a
new way of traveling. Besides, thanks to the web, users are able to virtually explore places and then
plan their own real travels.
In video-documentaries, the author has a main role. In fact, video-documentaries are based on a
professional expertise. Depending on the author/director’s intention, video-documentaries can
yield different perspectives such as educational, historical, anthropological, cultural, informative or
entertainment-oriented ones. The author has a main role in tv travel programs, too: they are the
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eye and have their own perspective on the subject, they know what to tell, how to tell it and how to
capture the audience. With images, they have the ability to educate the viewers in understanding
different cultures, traditions, places and people. The viewer senses that the image is not just an
indexical representation of some part of the world, but also an indexical record of the actual
encounter between filmmaker and subject (Nichols, 2010). This is a strong quality of the authorial
documentary that websites – based on interactivity user-medium and on sharing experiences and
opinions – don’t have. However, users become authors themselves, thanks to web 2.0
functionalities and self-made contents.
1.3. The digital hybridization of tv contents
The digital hybridization of travel channels is not merely a matter of transcoding contents from a
medium to another. Actually, it determines a gap between the unities of time and place, proper of
the tv contents, and the open dynamic hypermedia context, proper of online contents. According to
Lévy (1998), virtual is not the opposite of real: possible is the opposite of real and virtual is the
opposite of actual. Real can be logically deducible from possible, and vice-versa: human creativity
is not involved in this process. On the contrary, moving from virtual to actual, and vice-versa, is an
act of human creativity. The virtualization process includes three steps: the grammatical, the
dialectical, and the rhetorical one. The digitalization phase embraces only the first and the second
one. The first step is inventing a new grammar: the digital language. The second one – which
introduces the dialectic between the real and the possible – is encoding a video content into the
digital language (i. e. YouTube): that is the dialectical substitution of a material object with its
digital matrix. If a tv content recorded on a single physical support belongs to the domain of the
real, its digital matrix belongs to the domain of the possible. We perceive a digital tv content as a
richer one – in terms of possibilities of realizing it in different ways – in comparison with the same
content recorded on a single physical support. Both potentialization (moving from the real into the
possible, such as digitizing a tv content) and realization (moving from the possible to the real, such
as recording a copy of the tv content) are logical operations performed by computers: there’s no
need for human involvement. The third rhetorical step – which introduces the dialectic between
the actual and the virtual – is creating a hyper-media context by transforming a tv content into a
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problematic (Lévy, 1998). That problematic exists only if we take into consideration the humanmachine interaction and not only computer-based processes. A hypermedia can’t be logically
deduced from the source tv content. It is the result of a series of decisions: adjustment of the size of
the nodes and basic modules, arrangement of connections, structure of navigation interface, etc. If
digitalization is a logical operation performed by computers, virtualization is an act of human
creativity (Lévy, 1998). Both virtualization (moving from the actual to the virtual, such as
transforming a single tv content into a problematic or hypermedia) and actualization (moving from
the virtual to the actual, such as exploring a hypermedia by following different paths) are
intentional operations (Lévy, 1998). The virtualization process is an ethical issue, because human
will has a fundamental role both in determining its quality and building a “collective intelligence”
(Lévy, 1997).
2. Methodology
The approach used for this study is a quantitative methodology, which helps in finding and ranking
content and functionalities of a large number of websites. This methodology investigates the
presence of a given type of content or functionality in a set of given websites (Cantoni et al., 2007).
Being a quantitative approach, it does not provide information about the quality of the information
or communication. The main objective of this study is to describe the domain of online travel
channels and to understand how the websites are organized to find design patterns and business
model patterns. Particularly the study investigates: (i) the most complete websites, (ii) the most
frequent design patterns and (iii) the business model of the online travel channels. The procedure
is standardized: after choosing the domain and the sample websites, the inspector should create an
analysis grid based on indicators. One indicator is a type of content or functionality given by a
website; a type of content or functionality to be chosen as indicator must be relevant both for the
domain and for the end users (Cantoni et al., 2007). The inspector accomplishes an explorative
analysis browsing the sample websites annotating all the features of each website and/or taking
into account the most important features for the given website or domain. A feature is listed as
“content” when it defines an information published as a text, image, audio, video; it is listed as a
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“functionality” when it defines an action that readers can do on the website, such as acquiring,
sharing, producing information. When the indicator grid is complete, the group of websites is ready
to be analysed. The inspector goes through the websites giving marks to them with respect to the
indicators given in the grid; the grades are 1 and 0. Value 1 simply indicates that the type of object
represented by the indicator is present; there is not any evaluation on the quality of the
information. The creation of the analysis instrument and the data collection is based on a five step
indicator-based methodology.
Domain identification: The selection of the tourism channels was suggested by recent studies
concerning the increasing relevance of soft-news journalism in the editorial market. Hard news
generally refers to up-to-the-minute news and events that are reported immediately, while soft
news is background information or human-interest stories. Politics, war, economics and crime
used to be considered hard news, while arts, entertainment and lifestyles were considered soft
news. But increasingly, the lines are beginning to blur. One difference between hard and soft news
is the tone of presentation. A hard news story takes a factual approach: What happened? Who was
involved? Where and when did it happen? Why? A soft news story tries instead to suggest,
entertain or advise the reader, and promises “news you can use”. Online behavioural targeting has
emerged as new mantra. Traditional publishing companies are investing in electronic publishing
whose contribution to revenues has been increasing. Acquisition of electronic publishing entities by
traditional publishing companies corroborates the accent of electronic publishing in recent times.
Also, entering in the e-tourism business is a big opportunity for editorial companies to find new
business models.
Key players identification: The second step is the identification of the main online editions of
travel programs. The study focused on the following languages: English, French, Italian. Alexa.com
has been used to select the most popular online editions of travel channels. Then, 10 of the most
representative travel programs for each of the three chosen languages have been selected.
Indicators identification: The third step of this methodology is the identification of indicators to
describe in a quantitative manner types of contents and functionalities of every website, and the
definition of an analysis grid with these indicators. A group of websites has been chosen randomly
among the sample (30%, n= 9); each website has been analysed and types of contents and
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functionalities have been annotated on post-it. A card sorting activity helped to organize contents
and functionalities and to merge similar ones. Card sorting can provide insight into users’ mental
models, illuminating the way that they often tacitly group, sort and label tasks and content within
their own heads (Rosenfeld & Morville, 2002). The technique has proved very useful in helping to
organize several pieces of information or concepts. It entails providing a group of users with a set of
cards; written on each card there is a concept or piece of information from the information library
that needs to be organized. Users then sort the cards with similar concepts into piles. The result
suggests how users would organize a given set of concepts, which can be a valuable information
when organizing a system or website (Faiks and Hyland, 2000). In this context a so called closed
card-sort technique has been adopted: users are presented with the cards to be sorted and the
names of groups that the cards should be sorted into (Tullis & Albert, 2008). In this case it implies
that categories have already been identified, according to a narrative, and users just assign each
indicator to a category. The created grid presents 111 indicators, grouped into 8 areas and 25
categories. The 8 areas describe a narrative path and represent the following steps: the indicators
grouped into the “Information about the channel” (area 1) help to understand how the channel
presents itself to the readers, as they ask “Who are the authors? Are they reliable?”. The indicators
grouped into “Text” (area 2), “Audio” (area 3), “Photo” (area 4) and “Video” (area 5) areas help to
understand what kind of content the channel presents to the readers, and what kind of
functionalities they can use in order to share and even produce UGC (User Generated Content)
using web 2.0 tools, such as social networks, as they ask “What can I find here? What can I do
here?”. The indicators grouped into the “Purchase process” (area 6) area help to understand what
kind of travel suggestions the channel presents to the users, and what kind of functionalities they
can use in order to plan and book a travel, as they ask “Where should I go on holiday? How can I
plan and book my trip?". The indicators grouped into the “Community” (area 7) area help to
understand what the readers can do when they register in the community forum, as they ask “What
kind of functionalities can I use in order to produce and share content within the community?”.
The indicators grouped into the “Mobile” area (area 8) show how users can access the online
channel via mobile devices such as iPhone and iPad.
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Website analysis and data collection: the inspector marks the presence or the absence of each
indicator for each given website (presence = 1, absence= 0). For example: 1 was assigned to
indicator “Weather forecast” even when no weather info was actually on the website, because there
was a link to the website of forecasting service. In the same way, when no shopping catalogue is on
the website and there is a link to a generic shopping catalogue (but not specific for travellers), 0
was assigned to indicator “Travel shopping catalogue”. Please note that this is not a qualitative
score: 1 means simply that the object represented by the indicator is on the website (or directly
accessible from it), but no evaluation of information quality is given, nor on the correct/smart
positioning of the object in the navigation of the website. Figure 1 shows an example for the
channels data collection; Travel Channel, for instance, has 70% of the indicators clustered into the
“Information about the channel” category; CNN Travel has 46%.
Fig. 1. Example of score for category.
Figure 1 highlights the way the analysis grid has been created: indicators are grouped into
categories, and in areas; Channels are then listed and values are assigned to each channel.
3. Results
In the next paragraphs the results of the analysis have been investigated. Particularly, (i) the most
completed websites, (ii) the most frequent design patterns and (iii) the business model of the
8
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online travel channels are described. Figure 2 shows the most completed online channels analysed,
from the 1st to the 30thposition.
3.1. The most completed websites
The highest presence of indicators was found in “Travel Channel” (with 70% of the indicators)
while the less completed channel is “Sì, viaggiare”(19%).
80
70
60
50
40
30
20
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0
Fig. 2. The most completed online channels analysed, from the 1st to the 30th.
The following table describes the tendencies within the three language markets.
Market
All
English
Italian
French
Average
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Table 1. Results for each language market.
9
Table 1 shows that among the three different market, the English one seems to be the most
interesting. It has the channel which hosts the highest number of indicators, and presents the
highest mode, while Italian and French channels are the less completed ones in terms of indicator
presence.
3.2. The most frequent web design patterns
Figure 3 shows the most frequent design patterns within the online travel channels analysed.
Macro areas indicators have been grouped, and indicators have been normalized and presented in
percentage.
100
90
80
70
60
50
40
30
20
10
0
Fig. 3. Macro Areas indicators.
The macro area “Information about the channel” is the one which has got the highest presence of
indicators. The media sections area (text, video and photo) rank second, before the area that
collects all purchase indicators. “Mobile” area, with 33% presence of indicators, highlights new and
interesting applications, such as video-podcasting. Then indicators for the 25 categories have been
exploded in figure 4. Notably the first three categories refer to information while the last ones refer
to multimedia audio contents (media sharing, audio contents and audio functionalities) and to the
booking process.
10
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100
80
60
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20
Fig. 4. Percent value for categories’ presence.
10 categories are present at least in 49% of the online channels analysed. Most of them
(“References”, “Legal issues”, “Further info”, “Registration”, “Contacts”) concern the information
area. One of them, “Advertising” (52%), concerns the business model (the “Purchase process”
area): it’s important to notice that 87% of the online channels have advertising banners, and 33%
have “get involved” banners, offering the opportunity to became a responsible tourist. Besides, one
sub-category concerning the business model is present at least in 50% of the channels analysed:
“Advertising” (50%). Interactivity has also an important role: “Get article” (78%) and “Share
article” (48%). Thus, the editorial strategy and the design patterns seem to reflect the following
goals: (1) present the channels as reliable sources, and keep in contact with readers; (2) create a
new business model; (3) improve interactivity.
3.3 The business model
The business model of the 30 online travel channels has been analysed using 26 indicators grouped
into 5 subcategories and one category, as shown in figure 5. Figure 5 presents an overview of the
business model of the 30 online travel channels analysed.
11
60
50
40
30
20
10
0
Fig. 5. An overview of the purchase process in the 30 online travel channels analysed.
Figure 5 shows that the indicators grouped into the “Advertising” (52%) and “Shopping” (41%)
areas are the most relevant in the business model of the online channels analysed.
Figure 6 shows a detailed view of the 26 indicators concerning the purchase process.
Fig. 6. A detailed view of the purchase process in the 30 online travel channels analysed.
Figure 6 shows that 5 indicators are present in at least 50% of the online channels analysed.
“Advertising banners” and “Search articles/reviews by destination” are over 70%. “Search
12
articles/reviews by type” (70%), and “Travel suggestions” (66%) have also an high score. A new
business model is emerging, as readers can directly book the travel suggested by the channel.
4. Discussion and conclusion
4.1. All-news channels and travel programs
Travel sections of all-news channels – ABC, CNN, BBC, CBS and MSNBC – have an informative
approach based on textual contents. In fact, they offer detailed articles that can be searched by
date, destination and on an interactive world map. They can also be commented by the users and
shared on social networks. CNN allows the users to plan their own trip and to book Hotels.
On the contrary, travel programs have a different approach. They offer a wide range of multimedia
contents and web 2.0 functionalities, so that users can virtually “live” a travel experience and then
turn it into a real one by planning and booking a real trip.
4.2. Games
Games are among the most interesting functionalities offered by the online travel channels. They
are offered by 4 of the 10 English-language websites analysed. There are many kinds of games:
quizzes, memory games, role-playing, virtual maps, etc. For example, “National geographic” and
“Planet Earth” use the game as a way to help users discovering places, people and cultures, through
an exploration path, devoted to explain historical-archaeological, naturalistic, astronomical,
anthropological aspects. “Man vs. Wild” games section is mainly dedicated to the program’s
viewers. Games have many interactive functionalities and give users the chance to test their
knowledge about the topics discussed in the episodes.
4.3. Mobile
Many online travel programs – 11 of the 30 analysed – offer mobile applications for iPhone, iPad,
Android and Symbian mobile phones. MSNBC mobile application offers the possibility to know
your current location on a map and to get related notifications. This application also offers travel
news, articles dealing with destinations, travel suggestions, videos and photos, advertising banners.
CNN free mobile application offers: travel guides; travel tips shared by CNN correspondent; latest
13
news and in-depth reporting on destinations; “get involved” banners. “iReport” section gives the
opportunity to upload and share user generated news.
Actually, mobile applications tend to enhance the paper travel guides, lead tourists to discover the
destination – and its cultural, geographical, historical aspects – and fit them in.
4.4. Business models and ethics
Travel channels heavily rely on sponsorship from the tourism industry, an uneasy marriage, which
carries with it immense ethical implications. Most of online travel channels adopt a business model
based both on contextualized advertising banners, and on online stores offering DVDs, books and
travel-related gadgets. Some other ones adopt a new business model, based on built-in booking
engines or even on third-party ones. Actually, some online travel channels offer their users a
chronologically-ordered archive made of videos, photos, texts, and also episodes and news. These
multimedia archives cover a large range of topics and destinations and let users (a) choose their
preferred path, (b) compare possibilities and prices, (c) discover unexpected content and travel
suggestions adopting sort of serendipitous approach (Spagnolo et al., 2010), and finally (d) buy a
vacation. As users are free to choose among a large number of suggestions, even drawing a trip
solution based on their own preferences. This new business model could work as a basis for a new
ethical model in online travel channels: a model in which the close connection between published
information and economic revenue is made explicit, and where the publisher takes full
responsibility for high quality information.
Another relevant element of the design patterns of online travel channels concerns the ethicsoriented banners – such as the “get involved” ones, that are hosted by 10 of the 30 online channels
analysed. Actually, public attention on the issue of responsible tourism – just as on earth-care and
cross-cultural tourism ones – is grooving. For example, “Planet earth” website hosts a link entitled
“our partner: nature conservancy”, where users can find information on how to donate for earthcare projects. Besides, “Man vs. Wild” hosts a link entitled “Planet green”, a tv channel specifically
devoted to earth-care issues, such as stainable living and energy conservation. Both “Planet Earth”
and “Man vs. Wild” channels host a link entitled “How staff works” offering information on how to
promote an “eco-friendly thinking”. Online “National Geographic” channel has a section devoted to
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“Sustainability at National Geographic”, where user can find information about “green philosophy”
and earth-care initiatives. These elements offer venues for new business models and for a new
alliance between the channels themselves and their audience.
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