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PUCHE RUIZ, M. del C., 2015, 'Appelsinpiken' and experiential tourism. Andalusia, 'geography with a thrill', Via@, 2015-2(8), http://viatourismreview.com/en/2015/10/varia-art3/

'Appelsinpiken' and experiential tourism. Andalusia, 'geography with a thrill'

Maria del Carmen Puche Ruiz Universidad de Sevilla

Abstract

The purpose of this article is to analyse the context in which 'Appelsinpiken' ('The Orange Girl', Eva Dahr, 2008) was filmed, and also the image of tourism in Seville that the films suggests as a reduction of the image of Andalusia and Spain in the Nordic collective conscience. In keeping with the canons of Romanticism and the premises of 'experiential tourism', Seville's colourful appearance in the film is limited to promoting the city as a tourism destination that is utterly stuck in the past: an audiovisual appeal to the tourist ego via the emotional vision of the phenomenon of a journey.

For this analysis, a qualitative study is conducted of both Andalusia's importance as a destination for the Norwegian tourism market and the contrast between the two images of Seville, so far apart in time, described by two Nordic writers-tourists, (Andersen and Gaarder), along with the reactions to the shooting and première of 'Appelsinpiken'. These methods will help Sevillians come face to face with their own stereotypes and demonstrate the need to do away with banal clichés and straitjacketing.

Seville's enduring mythical image for tourism, a legacy of 19th century romantic travellers and of films coproduced in the nineteen-fifties and sixties, is brought up to the present day and enhanced with the experiential perspective embodied in this barely known film, which, despite having little resonance in Spain, nonetheless was filmed with the support of the Seville Film Office, the regional government’s TV and radio broadcasting service (Canal Sur) and Jaleo Films. Seville, shown with a fractured identity, a mix of iconic images and realities, misses the opportunity to present itself on the big screen as it really is.

Keywords: tourism, cinema, experiences, Seville, image.

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Figura 1. Cover photos. Frames and stills from the film 'Appelsinpiken' (Eva

Dahr, 2008). Sources: Film press kit for Germany and Helgeland Film Production Company

website.

Introduction

We are currently witness to the paradox of the tourist who is hyper connected with the virtual world but wants to experience reality. The standardisation of the tourism industry is clamouring to be set free through unique sensations produced by and for tourists who create their own journeys, a new genre of participative fiction. TURESPAÑA (2011) points to five powerful triggers of the experiential factor in tourism: aesthetics; the way that the experience is delivered; exclusiveness (a highly differentiated, almost mysterious component that is inaccessible or in very short supply in the tourism market); fantasy (the ability to make people step outside the realms of reality: to another time, to a different social status, etc); and fun and risk (risk perception, controlled, and/or fun linked with the activity). 'Memorability' is the secret to this focus: 'When they say they’ve had an experience, people relate an intense, emotional memory. We understand emotions as changes in the state of mind'.

Tourism's appropriation of a place involves an emotional journey to the destination. It also involves another journey: a virtual journey that is made in situ, through the traditional filter (Mateu and Nieto, 2008) of the Arts, with which the land of tourism and its landscapes are contemplated, embedded in the tourist’s mind as images (Urry, 2008), as imaginary geographies (Hennig, 1997, in Thimm, 2013) or tourist imaginaries (Gravari-Barbas & Graburn, 2012) in which tourists' education and their personal baggage are key. Tourists carry these with them until they arrive at their destinations, confirm them or refute them, compulsively capture them after their discovery, and subsequently transmit them. They also yield to the staging of authenticity (MacCannell, 1999) and shield themselves from any aspects that they do not wish to acknowledge (Decher, 2011). For its part, the cinema is an incredibly powerful creator of tourism imageability (Lynch, 1960) and a shaper of the urban landscape that destinations project. A 'purveyor of virtual journeys to be enjoyed by people of all ages' and 'the mightiest crafter of modern mythologies' (Del Rey-Reguillo, 2007), through a dynamic of seduction and recognition which would in the past perhaps have been assigned to literature.

When viewers are transformed into tourists, they display a wish to travel to the locations where the films with whose subject matter they have identified, are set, the films that have created symbolic icons that are already part of the collective imaginary

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that they have interiorised, or with the simple wish to gain knowledge of, or recognise the places that they have had a 'sneak preview' of through the cinema screen (the vicarious consumption of experiences, according to the term coined by Riley, Baker and Van Doren, 1992). The Spanish cinematographic image has sold 'Spanish culture' and 'identity' but has still not fully adapted to new trends in tourism. Despite the experiential phenomenon having been broached from the Anglo-Saxon perspective (Coleman & Crang, 2002; Knudsen & Waade, 2010; Robinson & Picard, 2012; Kim, 2012), a study of the way that the Spanish tourism experience is captured on film and is opened up to new markets is as necessary as it is novel. This is what gives rise to the analysis of the film 'Appelsinpiken' (2008), in which director Eva Dahr presents Andalusia to us as 'geography with a thrill', reflecting its age-old passion and its obedience to a voluntary carpe diem, capable of enticing cold, Nordic tourists: the region immersed in the sentimental exacerbation that fascinated 19th century travellers and that endeavours to produce memorable sensations in the memories of today’s visitors.

Our hypothesis focuses on 'The Orange Girl' as one of the latest outcomes of the intense marketing that tourism enacts on Andalusia: the cinematographic interiorisation of the experiential world for Norwegian film viewers/tourists and the 're-imageneering' of their tourist imaginary (Puche & Obiol, 2011). The turning of tourism practice into the specialised ‘neotourism’ of the nineteen-nineties and, subsequently, a unique tourism experience with added social prestige (Vera, 2014) comes to be the audiovisual world’s new take on the region. Javier Reverte (2011) states that '(…) today there is a type of tourist who pays (…) for what they call having an experience (…) feeling (…) or experiencing (…). We pay to feel experiences'1. The objective of this study is to confirm the synergy between the wild and romantic image of Andalusia and its promotion today as an experience for the Scandinavian public.

Objectives and Methodology

The present article's methodology focuses on a study of the film 'Appelsinpiken' ('The Orange Girl', Eva Dahr, 2008) as the representation of the tourism-experiential image of Andalusia and Spain for the Scandinavian tourist. The study highlights the current shaping of this emotive and evocative cinematographic imaginary which is establishing itself under cultural layers constructed by centuries of tourist myths.

a) Design

The case study of the film 'Appelsinpiken' ('The Orange Girl', Eva Dahr, 2008) has been conducted after it had been noted over recent decades that a need exists to understand the experiential image projected by the tourism destination of Andalusia and its opening up to new tourism markets. The discovery of the aforementioned

1 REVERTE, J. (2011). En mares salvajes. Un viaje al Ártico. Barcelona: Plaza & Janés.

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film highlighted the adaptation of Andalusia as a tourism destination both to the experiential phenomenon and to a specific target audience: the Nordic tourist.

The means chosen to substantiate the relative importance of this market in the region and in Spain as a whole was the statistical analysis of Nordic tourists in the region. Likewise, it was decided to provide a qualitative comparison of said tourists' behaviour and motivation at two key times (during the Romantic period and the current time) in order to explore the way that the literature on the Andalusian imaginary has developed, and the influence that it has on tourism promotion today. This multi-faceted vision has been completed with an analysis of the content of the 'Appelsinpiken' ('The Orange Girl', Eva Dahr, 2008).

Figura 2. 'Appelsinpiken' tourism image methodology

Source: Prepared by authors.

b) Pilot study: protocols to observe

It was felt it would be useful to carry out a full study under the hypothesis that the Romantic vision of Andalusia as a tourism destination is the precursor to the emotive-experiential vein with which current advertising has been imbued.

This led to a comprehensive analysis of the phenomenon from a critical and novel perspective in order to generate conclusions and proposals as to how its future promotion should be developed.

It was also felt it would be beneficial to use an innovative methodology of film analysis, one already used by experts on the subject, and this has helped to systematise key qualitative aspects of the film under study through the use of a standardised form.

“APPELSINPIKEN”

(EVA DAHR, 2009) LEGACY

IMAGE

UNA IMAGEN EXPERIENCIAL

NORWEGIAN TOURISM

MARKET

JÖSTEIN

GAARDER

JALEO FILMS

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c) Data collection

An in situ analysis of primary and secondary sources was conducted and statistical data compiled from tourism organisations such as the Spanish Tourism Institute (TURESPAÑA) (the EGATUR tourist expenditure survey, the Institute of Tourist Studies' (IET) FRONTUR cross-border tourist movements survey, and official reports on the Nordic tourism market) and the Junta de Andalucia (the Andalusian regional government) (annual tourism market studies).

Two relevant literary works were also chosen to support our hypothesis: 'In Spain' (Hans Christian Andersen, 1862) and 'Appelsinpiken' (Jöstein Gaarder, 2003). The chosen film around which the case study revolves is one of a long list of films analysed in the author's thesis and its selection was based on the criterion that it is representative of the portrait of the Nordic tourist in Andalusia and the experiential phenomenon.

d) Data Analysis

Qualitative analysis of the data detailed in the previous section fulfils to the need to understand variables that are characterised by their complexity and are based on the dramatisation of stereotypes and sensitive images. For this reason the author took the decision to conduct an eminently qualitative analysis of the data with the aim of obtaining highly nuanced results that would lead to a solid discussion and the subsequent generation of real proposals.

A trip by the 'average' much sought-after Nordic tourist has therefore been characterised (portrayed in the Dahr film and the Gaarder novel as the Jan Olav character). This aspect helps to confirm the importance of this market for Andalusia. The literary sources of this unusual 2008 film have likewise been analysed qualitatively. A comparative analysis is also provided of the original novel on which the film is based and the hackneyed image of Andalusia that has been handed down to us by Romantic travellers.

Lastly, the shooting of the film in the city has been put into context with interviews given to people involved in the process to create the film (the producer Álvaro Alonso, from Jaleo Films) and the information generated by its shooting and being premièred in Seville. This archive work has been analysed taking into account the attributes of the image given of the Andalusian region.

A qualitative assessment of the key scenes in the film adaptation of 'Appelsinpiken' has also been carried out. This content analysis methodology was tested by the researcher Antonia Del Rey-Reguillo (2014) in the course of her work, and also by the author in the framework of her doctoral thesis. The method in question corresponds to an analysis of common key variables in all the so-called 'tourist poster films' that depict the adventures of tourists in the Andalusian region.

e) Writing the report

The IMRAD (introduction, methods, results, and discussion) structure was chosen for writing the manuscript. This was due to the need to clearly state the process

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followed to draw up the case study and obtain some complex results with a methodology seldom used to analyse imaginary geography and tourism films.

The results of this qualitative analysis have been divided into three sub-sections: statistics on Nordic tourists in Andalusia and promotional actions directed at said target audience; the view of Seville of two Scandinavian tourists (clichés that coincide or not over this 150 year period), and the audiovisual embodiment of the emotional aspect of the stereotype (the 'Appelsinpiken' film). These results form a comprehensible whole that is justified by the need to validate our hypothesis: the experiential development of the Andalusian stereotype for Nordic tourists and their exploitation as an emerging market.

Research results

Highly sought after visitors of the Nordic market, 2006-2013

Statistical analysis

When these visitors are treated statistically, Denmark, Finland, Norway and Sweden are all systematically grouped under the umbrella name of 'Nordic countries'. The Junta de Andalucía's 2013 Marketing Action Plan specifies that the reason for this is that 'these four countries present similar behaviour, tastes and motivations', and that they are 'our most loyal visitors', with 'growth rates in recent years'. This and the better financial position of tourists from these countries have made them an 'interesting target' for the region's tourism system.

These sought-after visitors mainly value and relish the climate and calm of Andalusia. There are good air connections with the Autonomous Community (Norwegian, Ryanair, SAS) and 'this helps to promote weekend and long-weekend trips, the short-breaks that do so much to address seasonality'. Because, although the Nordic market 'presents a marked summer seasonality' due to their preference for sun and sand, they also have longer holiday periods throughout the year, which means that it is appropriate to highlight 'key segments to break up seasonality, such as golf2, conferences and incentives, (…), cruises, family tourism and, naturally, city-breaks'3 .

The Marketing Plan sought to 'reinforce our values of modernity, proximity, safety and diversity' for these markets and renew the 'image as a leading sun and sand destination'4, underpinned 'without fear of stereotypes or clichés (by) what is our

2 The main destination in Andalusia is Malaga-Costa del Sol. 'There are some 150,000 golfers in Norway and their interest in the sport is combined with the high spending power of these visitors and the advantage of the current strength of their currency, the Norwegian krone' (Especial Golf Hosteltur 2012. El Oro Verde). 3 According to a March 2013 Valencian Community Tourism Observatory report, Nordic tourists 'visit sun and sand destinations in summer and winter, do urban and cultural tourism in spring and autumn, and sport tourism in winter (golf and snow sports)'. 4 The Valencian Community report states that 'the image that Nordic tourists have of Spain is that of a sun and sand destination that is safe, accessible and with an interesting lifestyle and language, but it is also associated with mass tourism and a loss of authenticity ', while 'the food and urban and cultural destinations are beginning to be known and appreciated'.

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heritage: flamenco, and complementary products to sun and sand that encourage the redistribution of tourists throughout Andalusian territory'. The Plan places emphasis on attracting young people and students, as 'the image (of Andalusia) is of a destination for older people'. It is also especially directed at the region of Akershus, which is, along with Oslo, one of the places where the highest concentration of travellers in Norway can be found. 'Appelsinpiken' is an example of these efforts, as it shows the brief adventure of a young Norwegian student in Seville, promoting an out-of-season, study trip-related short-break that is far from lacking in mythical Andalusian stereotypes.

Figura 3. Importance matrix of tourism markets in Andalusia (share in %) which shows the “Emerging Market” (Russia), the “Main Markets” (France, United Kingdom, Germany) and the “Secondary Markets” (Nordic, Japan,

Belgium, Switzerland, Nederlands, Ireland, EE.UU, Portugal, Italy). Source: Andalusian Tourism Promotion Master Plan (2013-2016).

From being the fifth most popular Spanish tourist destination for Nordic tourism in 2009, Andalusia has climbed to fourth place today, with Nordic tourism representing 15.3 % of all regional tourism in 2012. As the following table shows, growth in this source market for Spain has been very positive since 2005. Andalusia recorded 353,723 visitors from these countries in 2008, although the number fell to 318,198 in 2009, coinciding with a spike in the economic crisis5.

In the specific case of Norway 'impressive growth rates can be observed in Spain of +21%, +30% and15.8% in visitors, overnight stays and passengers, respectively' in 2012. Turespaña perceives that 'the accumulated increase in arrivals during the 2009-2013 period was 70%'. In 2012 Norway was the eleventh highest source country with 1,249,926 tourists and a 2.17% share of total Spanish tourism.

5 In 2008, Andalusia was in fourth place with 12.9%.

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YEAR NORDIC COUNTRIES out of Spanish

total

NORDIC COUNTRIES out of Spanish

total (%)

NORWAY

out of Spanish total

NORWAY

out of Spanish total (%)

TOTAL SPANISH

TOURISTS

2005 2.866.034 5,15 % 786.763 1,42 % 55,6 million

2006 3.081.401 5,27 % 803.061 1,37 % 58,5 million

2007 3.456.580 5,81 % 861.474 1,45 % 59,5 million

2008 3.593.580 6,27 % 952.718 1,66 % 57,3 million

2009 3.339.413 6,39 % 887.223 1,70 % 52,3 million

Table 1. Nordic and Norwegian tourists in Spain (2005-2009).

Source: Prepared by authors from Turespaña (IET) data

Norwegians 'travel in family groups to safe sun and sand destinations with cultural activities', but also 'present a growing demand for urban, cultural, nature and active tourism'. This is usually a top destination for 'seniors juniors', as the over 50 age segment stands out for its out-of-summer-season growth and its high expenditure at the destination (women)'. In addition, 'Norwegians consider prices to be lower abroad and take advantage of their trips to make purchases'. On average Norwegian tourists spend €1,296 during their trips to Spain.

According to the Spanish Tourism Institute (2014), Spain is their main long-stay holiday destination, with 'a total of 7.37 million trips abroad' in 2013 of which '19% were to Spain' (over 1,500,000 tourists during said year). The most visited regions in 2013 were: the Canary Islands (35.6%), the Valencian Community (18.9%) and, with a 24.8% year-on-year increase, Andalusia (14.7%). Before the shooting of 'Appelsinpiken' (2008), Norwegian visitors to Andalusia numbered 36,860 (2006) and 43,114 (2007). There were manifold increases in promotion directed at this market from 2005 onwards, when the Nordic target's current importance and potential were perceived. Said promotion was generally implemented by the autonomous government and Turespaña.

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Figure 4: Images of experiential tourism in Andalusia Source: Tourism Promotion Master Plan (2013-2016)

Present and future prospects for promotion

Accordingly Andalusia was promoted at Norway's most important tourist fair, the 'Reiseliv', in 2006 as this was '(…) one of the source markets of tourists for the Andalusian Community with the greatest potential within the European area' (Preferente). In the same year, in the report on 'Andalusian Tourism Source Markets: The Nordic Market' it was stated that 'demand from Nordic tourists is more non-seasonal in Andalusia than other foreign destinations, as part of the summer pressure is transferred to spring and autumn'.

The Community's image was positive or very positive for 84% of the people who had travelled to Andalusia in the previous four years. However, in the group of surveyees who had not travelled abroad 'the high percentage of individuals in the 'Don't Know' category was split between 24% that had never been to the Andalusian tourist destination, and 21% who had not formed an image of it'. This confirms the need to promote the region abroad despite its mythical image. The climate was the most demanded and recognised aspect (81% of mentions), followed by the landscapes (65%) and the customs and cuisine (64%).

In 2008 a talk was arranged to give the Nordic Market information about what Andalusia had to offer tourists, organised by Turismo Andaluz, Provincial Tourist Boards and a good number of Andalusian businesspeople, with a workshop and a flamenco show (Prodetur, 2008). In November 2011 a massive promotion campaign was launched in Sweden, Norway and Denmark with 'an average 58% coverage of the target audience in the three countries with approximately 40 million contacts' (Duendeviajero, 2011) and dissemination in over 40 different types of print media

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(general information newspapers and specialised journals)6, while in 2012 specific actions were taken to promote golf tourism in Norway.

The qualitative leap forward was to come in 2013, when an agreement was signed with the Serhs group, which brought nearly 12,000 tourists to Andalusia during the January-April period of the same year, 'which is equivalent to a 130% year-on-year increase' (Hosteltur, 2013), and entailed 'establishing new air routes and increasing frequency to weekly flights' (Paciente, 2013). Growth in this market was visible in all of Spain 'but the trend in Andalusia seems to be even clearer'. These visitors mainly choose 'the sun and sand product or alternative cultural options, although special attention has been given to low season innovations to try and make the activity non-seasonal'.

The 2013 Plan to Reduce Seasonality in Andalusia indicates that one of the lines of work will be to 'adapt tourism products to the demand's holiday periods', and to 'translate tourism content into the languages of the new markets (BRIC, Nordic countries, etc.)'. The Andalusian Tourism Promotion Master Plan 2013-2016 states that the latter are given high priority in the three investment matrixes for the various markets: current importance (along with Spain, the United Kingdom, Germany France and Benelux), future projections (along with Russia, Brazil, China and India), and qualitative importance for agents in the sector (along with Spain, the United Kingdom, Germany, France, Benelux, Russia, Portugal and the USA./Canada). Sixty percent of the whole budget will be allocated to this market as the Nordic Countries are considered to be a consolidated market in which 'the Andalusian destination is fully identified, recognised and valued', but still presents a high potential for future growth and our competitiveness would be maintained there'. Reinforcing experiential knowledge is one of the Plan's priorities.

Andersen (1862) y Gaarder (2003). Litterary sources of a legacy image

In love with Spain since his tour to promote 'Sophie's World' (1991), Jöstein Gaarder has set some of his best-known works in the country. His experience is not much different from that of many young European visitors who love 'sun and sand' and low cost: an initial visit to the Canary Islands later followed by the mainland7. As the protagonist of 'The Orange Girl' does, Gaarder travelled to Seville via Madrid ('when the city was still not on the international tourist route' and there was still no SAS flight between the city and Oslo8) and stayed at a hotel in Don Remondo street with a view of the cathedral' Giralda Tower. For him its image assumed that of a 'rich Romantic ruin' (Puche Ruiz, 2013), the legacy of 'Carmen' and 'The Barber of Seville' (Luque, 2009). The same image that has recently been boosted by the launch of the 'Seville, Opera City' tourism product. Watching the sun go down over the cathedral would be his inspiration when he was developing the momentous meeting between the two main characters in 'Appelsinpiken' in the heart of the Santa Cruz district. Because 'Seville has long been the ideal frame for any love story' (Álvarez, 2009).

6 A promotional action that entailed over € 310,000 in investment co-funded by State and Autonomous Community bodies. 7 The trip made by the protagonist of 'Lanzarote' by Michel Houellebecq should be remembered in this regard. 8 SAS, Scandinavian Airlines, whose first flight between Seville and the Norwegian capital took place in 2008.

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Figure 5: Images of Jöstein Gaarder, author of 'The Orange Girl' and the presentation of the 'Seville, Opera City' tourism product. Sources: Creative Commons and Seville Tourism Consortium

If Gaarder had been born in the 19th century he would have turned his experience in Spain into a successful travel book, just as another illustrious Scandinavian9 had done in 1862: Hans Christian Andersen, who visited the city in November of that year. The Danish writer stayed at the 'Fonda de Londres' and his 'balcony looked out upon the Plaza Nueva, which is very extensive and planted with allées of orange trees laden with golden fruit'. Andersen the traveller also centred his impressions around the city's most recognisable tourist markers: 'The cathedral at Seville, the largest of all the churches in Spain, the Moorish alcazar, and lastly Murillo's matchless pictures, make Sevilla one of the most interesting cities of Europe; the sea alone is wanting: with the sea Sevilla, would be perfect, the city of cities'. He also travelled to Spain with his own broad gallery of operatic and romantic myths, when almost everything about 'picturesque' Spain had already been written: 'The whole town has been set to music, has been painted in tones. Rossini took "The Barber of Seville" as the text for his opera. I believe, however, that another has said and written this before me, but many will repeat it yet'.

Gaarder confirms this romantic trend in the 21st century and describes to us a 'young orange girl' 'with a squirrel's gaze' and something 'magic' and 'unfathomable' (Veronika), who has a chance meeting with a young medical student called Jan Olav on a tram in Oslo. In the classical tradition of the 'erotic power of travel and the view

9 According to the 'Andalusian Tourism Source Markets report: the Nordic market (2006)' prepared by the regional Department of Tourism, Trade and Sport, 'Danish tourists are not only more inclined to visit Andalusia, but comprise almost a third of all tourists from the Nordic market'.

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in movement'10 (the maximum exponent of which was David Lean), the reader looks on as this almost musical meeting takes place, with the twinge of having seen the same thing in films a thousand times before ('The Orange Girl had already sent me such a provocative look (...) she appeared to have chosen me out of all the people on that overcrowded tram (...) this only took a moment, it was almost as if the two of us already enjoyed some kind of clandestine alliance'). The novel is a reflection on our 'measured time' on Earth and sets out the diatribe between the ephemeral pleasure of life and non existence in the eternity of the universe. This is the passionate tale that presents Jan Olav to his son Georg when he turns 15 and has almost forgotten his father, who had died years previously.

The plot is simple: from this encounter onwards the young aspiring doctor stops at nothing in his search of all Oslo to find the young girl carrying a huge number of golden, succulent, sweet-smelling oranges ('their golden skins seemed to shine so brightly that I felt like rubbing my eyes'), conveying the reader to world of sensuality that makes the mind fly away to warmer climes, far from the cold reality of Norway. The cinematographic parallelisms are not slow in coming during this game of cat and mouse with Veronika around Oslo's snowy streets ('No effort was spared but he was totally unable to track her down. It was as if the whole film had got caught in a loop'). But, as in every fairy story about immortal love, 'I'd certainly meet her again. (...) There were powerful, but also inscrutable forces at work here'. The girl was turned into a fantasy, a quixotic dream 'full of seductive secrets' that would only be revealed to him. This is a deeply sensorial film thanks to the stunningly simple description of objects (the old orange-coloured anorak, the silver hair-clip and the first kiss) and textures (the snow and the stroking of Veronika's hair). During their meeting in Oslo cathedral the Orange Girl presses Jan Olav to wait for her for six months, promising him in exchange that during the other six he will be able to see her every day. Just as in storybooks, the two protagonists keep to the rules… or do they? In mid-April Jan Olav receives an unsigned postcard ('on the front of the card was a picture of a wonderful orange grove PATIO DE LOS NARANJOS (The Orange Tree Courtyard) printed in large letters') and he determines to go and find her, despite it having been forbidden ('I turned the card over. It was postmarked Seville, and the only thing written on it was: I've been thinking of you. Can you wait a little longer?').

The Orange Girl has flown away to some fantastic place, far away from the eternal snow ('I wasn’t really all that taken aback. Naturally the Orange Girl was in the Orange Courtyard, where else should she be? She had simply gone back to her own queenly realm, to Orange Land'). This imagined and mythical land was the mythical Spain in the pages of 19th century travel books. Romantic Spain, littered with Moorish buildings and gardens, where according to Andersen, '(…) one might fancy oneself in a fairy palace (in the) "Arabian Nights" Entertainments (...) one is here quite overwhelmed by the oriental pomp and splendour' and '(…) even the orange-trees had not been permitted to retain their natural beautiful shape; the scissors had trimmed them into various forms'. That Spain is confused with Andalusia, where on a daily basis the poetry of water exists alongside a paradigmatic climatology: 'In the streets of the city I had found the air a little too cool; here, in the garden of the

10 «Voir mille objets pour la première et pour la dernière fois, quoi de plus mélancolique et de plus profond ! Voyager, c’est naître et mourir à chaque instant » (« Les Misérables », Victor Hugo).

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Alcazar, it was charming, warm, and sunny; the oranges hung amidst the dark foliage; the roses blossomed sweet and lovely'.

That is when Jan Olav's sightseeing tour of a traditional -but up-close and personal- Seville begins: 'I'd never been to Seville before; I'd never even been to Spain. But soon I was following the stream of tourists up to the old Jewish quarter of the city. It was called Santa Cruz and looked almost like a huge temple dedicated to the orange as a traditional plant. At any rate, all the plazas and market places were lined with orange trees. Andersen was also to advise: 'Wander through the streets of Sevilla, and glance in at the doors and gates: they are not closed. El patio, as the little court-yard is called, that displays to us the heart as well as the countenance of its inhabitants, for it reveals to us their taste’.

Jan Olav ends up having some tapas, convinced that Santa Cruz was the prettiest part of Seville, that the 'loveliest' square in Santa Cruz 'was called Plaza de la Alianza', and that 'if the Orange Girl was anything like (him), sooner or later she'd have to turn up just where (he) was sitting. We'd met each other at a café in Oslo. And we'd met each other at the cathedral'... ergo, the compulsory parallelism would make them meet again in this magic spot in Seville.

His childlike stubbornness would bear fruit, as 'Four and a half hours after (he)'d sat down under the orange tree, the Orange Girl came fluttering into the plaza. Not in her old anorak, of course, Andalucia is sub-tropical (sic). She was dressed in a little fairytale of a summer frock, which glowed as red as the bougainvillaea that festooned a high wall in the background and had long attracted my admiration'. Andersen seems to confirm this mythical climate with which southern Europe is blessed: ‘Now, late in November, there was no longer the animation and bustle which generally characterize this place. One should come to Sevilla in the spring, at the time when the flowers are in perfection, or in the heat of Summer; then the home life and customs of the inhabitants of the south can be studied, for even the most insignificant patio presents a picture of domestic life’.

The set is prepared for a Sleeping Beauty who wakes up in 'sunny Spain' after four months' separation. Once more the significance of objects is addressed: 'I thought her red dress was so delectably pretty and enticing. I could just see her body breathing under the dress: it rose and fell, like sea breakers on a beautiful beach'. Veronika is turned into a symbol of Spain, the warmth, tenderness and seduction of a country that is unfolding before him, experiences that can only be experienced in its mild climate and that he will never forget. Other young people experience the city like 'a butterfly between the leaves of an orange tree', intertwining their tourism and experiential experience. Even Veronika was to say: 'I remember everything. (...) I remember it like in a film. I remember it like the opening scenes in a … very romantic film'.

When they finish talking it was already 'almost completely dark' and 'only a couple of wrought iron lanterns cast a golden sheen across the empty plaza. We had ordered a bottle of Ribera del Duero (sic) wine and sat holding our glasses'. The anonymity of Spain quickly heightens feelings and risk: 'She tasted of vanilla. Her hair smelt fresh as citrus'. Jan Olav has only been able to rent a room in a conservative guest house that closes before midnight, while 'the Orange Girl rented a small room and a kitchenette from an old lady. On the walls hung several watercolours of orange flowers and orange trees'. Like a good Protestant, Andersen also smiled at Spanish

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serenity, making an irreverent observation about the painting of Saint Justine and Saint Rufina in the Academy of Fine Arts.

The story of the Orange Girl is synonymous with Seville: this is why Veronika has to paint oranges for months on end with the goal of getting into art school and catches Jan Olav's attention. There are no further allusions to monuments or tourist spots in the original text. The experiential infomercial for the city is in the film, and is part of the intent of the screenwriters and producers and the image that Nordic people have of Spain. Upon returning to Norway their plan is to live together and marry: 'She lit up like an orange tree of the Plaza de la Alianza when we quickly agreed that she could move to Adamstuen in early January'. Despite having a small son, Jan Olav's light on earth was to soon be extinguished, like a star in the immensity of the universe. And thus Spain becomes the most ephemeral and fantastic object of desire of the vitalistic dreamer that is Jan Olav.

Sevilla by and for Norwegians. The experiential journey in the Eva Dahr

(2009)

After the film had been premièred in Spain, the director, Eva Dahr (who had achieved great success with 'Venus & Mars' in 2007) stated that she admired the works of Jöstein Gaarder and confessed that she had been put in charge of directing the film when the screenplay had almost been completed by Andreas Markusson and Axel Helgeland. In the novel Georg shuts himself into his room to read the long letter from his father and subsequently rewrite it, intertwining his words and confessions, his parents' love story and his current experience.

The director cautions that the plot of the film is on three levels ('on the one hand it is a fairytale, but it's also a love story and, lastly, the part when the protagonist reads the letters his father left him after he had died stands out', Álvarez, 2009). Three levels with different types of music that are played out in three very different locations: Oslo and the lovers' passionate meeting in Seville narrated by Jan Olav during the nineteen-eighties, and the reading of the letter by a teenage Georg during an astronomy trip during the harsh Norwegian winter at the beginning of 2000 ('more up-to-date, more social, more realistic', in the director's own words).

Gaarder stated after its première in the Official Section of the Seville Film Festival that 'the film was good, but not very good'. He went on to say that 'The story of "The Orange Girl" could have taken place in Florence or Rome, but when I visited Seville, I fell in love with the place. I studied flamenco and wandered around the town centre and it was the only city in my head'. Jesús Álvarez talks about his experience after seeing the film: 'Gaarder thinks that if you don't cry in a film that's trying to move you, "it isn't effective", as if you "never even smile at all" in a film that's trying to make you laugh. Nevertheless, he states that he cried during the film'. The 'Jaleo Films' producer, Álvaro Alonso, perceives that this is a film of a type 'that isn't made in Spain, where we are not concerned about' (Camero, 2009) offering teenage audiences quality products with a deep message.

The project was conceived in Berlin, around 2005, when Helgeland, the Norwegian film production company, coincided with Álvaro Alonso from the Jaleo Films production company, and they came up with the idea of shooting a large part of the film in the original settings in Seville, to bring out its more romantic side. The

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Norwegian production team visited the city several times, even getting free plane tickets on SAS's brand new Oslo-Seville route, and decided which parts of the city would be used.

The Sevilla Film Office11 set straight to work on the production (obtaining the filming permits in 5 working days through a one-stop shop), managing to get filming allowed inside the cathedral and the Alcazar and even getting spectacular shots from the famous 'giraldillo' weather vane. Agus Jiménez, also from Jaleo Films, guaranteed that 'the Norwegians left happy, blown away by the locations' and that 'filming in the Alcazar was perfect' (Barahona, 2014). As an anecdote, it should be stated that the film was shot in June 2008 and 500 plastic oranges had to be purchased to play their star role in the bare orange trees, and deck out the city in cinematographic terms for the occasion - to the surprise of the local people. The film obtained funding from the Junta de Andalucía, as well as from the Euroimages European Funds, which invested 500,000 Euros.

The film was intended to reflect 'the stereotypes of societies that are to all appearances so different as the Norwegian and Spanish, which end up uniting under a common bond, which is love' (Agencia EFE, 2009). This is why the film always links warm colours, seduction and eroticism (even sudden guitar chords) to the young female lead and her appearances, in both Norway and Spain. In the film Dahr emphasised the role of tourism in Seville 'of which we wanted to reflect the ochre and terracotta colours, to bring out, above all, the idea of eroticism, in contrast with the white tones of Norway' (Álvarez, 2009)12.

As in Gaarder's novel, objects take on a unique importance. Thus her glowing red dress in the novel becomes a sexy polka dot dress in the film. The film has a flawless, impeccably photographed ending thanks to the resources of the Norwegian producers, with a combination of warm lights and confessions, reflections of reality, and dream landscapes and monuments. The film also brings out the differences between the two societies through textures, as does Gaarder. An example of this is the visual contrast between the fleshy pulp of the oranges or the sensuality of Goya's art, and the unmoving coldness of Norway's flat ice and snow landscape, with its perfect houses replete with 'Ikea' utensils and furniture. The producers, Helgeland, assured that this was 'in no way a traditional Norwegian film' (El Correo de Andalucía, 2009).

But, according to the journalist Jesús Álvarez, 'the vision that the film gives of Seville, however, is more akin to that of an American tour operator, full of pretty little shots and monuments, than of quiet nooks and corners in the soul of a philosophy-loving Norwegian writer. The film turns its back on the intimate image projected by Gaarder in the novel that owes so much to its romantic mythology and, instead, tries to combine the aesthetics of a regular travel brochure with the canons of 'experiential' promotion.

11 It is the Film Office's intent that any productions shot in the city should offer the most faithful image possible of the way that the customs and heritage are treated onscreen. However, the Andalucía Film Commission has included no reference on its website to the film being located in Andalusia. 12 This is also a traditional contrast in Spanish films. Remember, for example, 'Congreso en Sevilla' (1955), by Antonio Román, which shows the figure of a very different Swedish tourist to the one that would later be popularised in the films that starred Paco Martínez Soria and Alfredo Landa.

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For the journalist Francisco Camero the city 'is the setting for its main message, an appeal to carpe diem underpinned by the relationship between the two lovers -the boy's father and the ethereal orange girl- who, drunk with happiness -with ‘vitality and eroticism’ Dahr adds- wander around the Cathedral, the bullring, the streets of the Santa Cruz quarter, the Fine Arts Museum, and the Murillo Gardens. A portrait of the city that brought quite a few laughs during its screening'. Indeed, the meeting between Jan Olav and Veronika in the Faculty of Fine Arts unleashes tourism euphoria in the director, Eva Dahr, in the form of a tourist-experiential ramble with the philosophy that 'eternity is the time in which we live' that lasts 15 of the film's 77 minutes.

Figura 6: Images. Two contrasting societies, the Norwegian cold and emotion.

Source: Film press fit for Germany. Whenever Seville appears in the film, the tone changes radically, reminding us of the type of film that Antonia del Rey has so accurately dubbed the 'tourist poster film' (2014). The postcard of the Giralda Tower and the Orange Courtyard triggers an extravaganza of stereotypes, but one in which for the first time tourism in Seville will be seen through the 'experiential' optic. When the postcard arrives at a cold student flat in Oslo in the 38th minute, this marks the appearance of a Seville that is improbable and unrecognisable for the resident, a city that escapes all geographical logic.

Despite the efforts of the producers, the film was received as 'too cold', so 'tourist information kiosk-like' that the producers, Helgeland, retorted: 'They may seem like clichés to you, but in the film Seville is the set for a fairy story, and that's what we've shown', whereas the person in charge of production for Canal Sur, Ricardo Llorca, stated that in the film 'the stereotypes dissolve into something that I would call poetry'. As this sightseeing tour does not exist in the original novel, the screenwriters

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and producers can be held responsible for 'Appelsinpiken' turning out to be a cornerstone of Seville's experiential-tourism promotion.

However, it was a failed attempt. Jaleo Films tried in vain to make contact with the Tourism Department of the Junta de Andalucía. The film was already finished and gave a very positive image of the city and the region. Notwithstanding, those in charge did not show their support, despite the Junta's investment and the audiovisual orientation of its campaigns. A squandered opportunity to capture such a select market. Despite the promising statements made by the councillor for tourism about the filming of 'The Orange Girl' in 2008, no actions were taken by those in charge of tourism to promote the film.

The Norwegian première of the film was quite different, as it had already raised high expectations as far as the box office was concerned. Oslo dressed up for the occasion in the middle of February, with kiosks where hostesses dressed in orange offered glasses of the highly expensive and highly coveted fruit's juice in the capital, hyping up the exotic character of the coproduction shot in Seville. Special care was taken with the poster work, which was treated to an unveiling of the type reserved for Hollywood super productions. However, the film adaptation of this 'best seller' did not get the anticipated response, and only covered production costs. It was not distributed in Spain13. However, it was a moderate success among teenage audiences in Germany, where 24 copies were made in all.

Figure 6: Frames from 'Appelsinpiken' of the experiential sightseeing tour in

Seville (Royal Alcazar Palace). Source: Film press kit for Germany

Discussion and Conclusions

Appelsinpiken's short on-screen life reminds us that the sensorial exploitation of tourism also has a sell-by date: viewers seem to be overloaded by the number of images they receive and their capacity for being attracted begins to suffer. The standardisation of the experiential phenomenon detected in the audiovisual and cinematographic promotion of Andalusia results in it becoming a new paradigm of Fordism. The trend towards organising the trip to the very last detail and

13 According to Álvaro Alonso, an attempt was made to launch a pack along with the book (Siruela Pub.), but it was not economically viable.

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knowing/recognising the destination before making the visit, leaves no room for surprises or improvisation. Neither does the practice of 'movie tourism' in Andalusia (Rosado & Querol, 2006) with the official backing of the authorities. Andalusia's audiovisual imaginary (Garrido, 2005; Guarinos, 2009) is leading tourism to atrophy itself. This is the great paradox of this typology, which has strangled the spontaneity that it was intending to bring back to the practice of tourism; a typology that is not, and has never been like that, as travel has always gone hand in hand with experience (Vera, 2014). Seville viewer-tourists, stuffed full of traditional images stumble through an unrecognisable city on the silver screen created by the tyranny of experiential marketing and force themselves to experience things that are antiquated and stale, because that is what is expected of their social behaviour. The controversial image of Seville in 'Appelsinpiken' is an example of the need for agreement around the creation of sensitive images and launching them into the audiovisual world (Hernández, 2008). It only has to be remembered that Seville has traditionally been mistreated in Spanish films (preying on all the old Andalusian clichés, in real locations or in the studio, as a model of life itself14) and in international films. But some sectors of society are starting to feel 'ill at ease' with this message, as they are with traditional productions in which Seville was synonymous with Spanish authenticity. And its fluctuating spirit does not seem to have satisfied any of the expectations of the agents involved: Seville no longer offers a sufficiently exotic image nor one that is radically modern. The city seems to be at a key crossroads for its tourism and the imaginary that it projects, perhaps as important as the period in which costumbrismo and regenerationism were current in Spain. This is a time of change and decision in which its image can take a leap of faith or stagnate, shrouding itself in centuries of myths and praise. As can be observed from the qualitative analysis of the two proposed images (Andersen-Gaarder/Dahr), the stage for 'Appelsinpiken' is a legacy fairytale world with rather 'kitsch' roots. How can you give a destination of mythical quality a makeover? How can you link the film to the 'experiential' promotion of the region? How can you adapt the image for some tourists who are besotted with the most antiquated exoticism? The Seville in 'Appelsinpiken' is a tourism infomercial with the rhythm of a videoclip, a hybrid between a tourism advert and the tawdriest visual reality. A fairytale realm where the 'orientalising' Plaza de España (which serves just as well to recreate Naboo in 'Star Wars' as a dictatorship ruled over by Sacha Baron Cohen) coexists alongside holy cards and posters of the Virgin Mary. Has it offered a different image with its experiential movement? Certainly not. Has it reinforced stereotypes and visual identities of the city? It is hard to know in an itemisation of monuments merely used to illustrate the city. Viewer-tourists will be transported to Seville from their cinema seats or from the living room of their homes high on catchy music and some most beautiful images, but the real city will not be reflected in this long tourism infomercial. To what extent has it been undermined by its mission as a teenage fairytale? Was the film properly focused on its target audience?

14 In one of the most emblematic films of Andalusian stereotypes, the second version of 'Morena clara' (Luis Lucia, 1954), Manuel Luna advises Julia Lajos to go to the cinema to find out what a 'real Sevillian street party' is like.

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The Norwegian market is a confirmed major market for Seville. When trying to appeal to another interesting emerging market, the Indian market, Turespaña did not hesitate to allow a parody of Andalusia to be filmed, a videoclip called 'Señorita' ('You Only Live Once', Zoya Akhtar, 2011). The success in Spain of 'Ocho apellidos vascos' (‘Spanish Affair’) has breathed new life into tourism in Seville through the antiquated image it offers of Andalusian mannerisms15. The French market even allows itself a jibe, proclaiming the ‘ugliness’ (and drug trafficking) of La Línea de la Concepción in 'Les garçons et Guillaume, à table' (‘Me, Myself and Mum’, Guillaume Galienne, 2013) as a reaction to the paradisiacal image that Andalusia has inherited from its romantic travellers. Hollywood has also botched its cultural encounters with Andalusia: ‘Mission Impossible 2' (John Woo, 2000) and 'Knight and Day' (James Mangold, 2010). Thanks to what Said Zoido Salazar described as a 'post-production gimmick' (2014), these two films mix together scenes from very different cities, Seville and Cadiz, and such different Spanish festivals as Pamplona’s 'sanfermines', Valencia’s ‘Fallas’ and Seville’s Holy Week are all held at the same time. Future studies should try to find out which image has been assumed by the new generations of tourists and the new tourism markets. This is the reason why it should be asked whether it is right to waste free promotion of the city when what is being characterised onscreen is such a sought-after tourism market for the city. The information given to the press regarding its première, as well as the various accounts given, highlight a political attitude that is quite incomprehensible, especially when what is at stake is a fitting image of the city. Did the political leaders feel any shame when they saw this stale image portrayed onscreen yet again? To prevent any more disappointments of the same ilk, Seville should avail itself of a citizen participation body in which discussions can be held as to how a fresh image of the city can be conveyed in both the audiovisual media and the intermediation of its tourism. It is vitally important for the citizens of the city themselves to be able to put forward and have control over the image that they wish to convey to both Spanish and foreign tourists. This would all be facilitated by the formulation of a long-term tourism strategy with clear, agreed goals and a sustainable roots and branches overhaul. At the current time, the city’s tourism policy is underpinned by the launching of exciting but one-off projects with no guiding thread, no coherent narrative, and no continuity over time. That is why its ‘star’ projects end up being left to their own devices, for good or for bad, as long as their official launch period has run its course. The area nicknamed 'Setas de Sevilla' (‘the Seville mushrooms’), the city’s new aquarium, the aforementioned ‘Seville, Opera City’ tourism product club, the San Jorge Castle Inquisition Interpretation Centre and the Ceramics Centre in the emblematic district of Triana, even the timid moves to get the province of Seville acknowledged as ‘movie country’, are all high visibility projects that generate enthusiasm as long as the pomp and fanfare surrounding their unveiling lasts; projects that, like the last, have been spawned by a passing fad -in this case the shooting of the 'Game of Thrones' series (2014), with interiors shot in Seville’s Royal

15 Also through the sequel, filmed in spring 2015 in Catalonia and in Seville because, according to its executive producer, Javier Ugarte, 'there is no city as photogenic as Seville'. http://www.alcazarsevilla.org/?p=1775

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Alcazar Palace-, which will foreseeably bring huge numbers of tourists flocking in. The perception is that the city is missing the chance to portray itself onscreen as it really is in its commitment to being a prime location rather than a true reflection of its day to day spirit. And this is an opportunity that the city cannot let pass by. Acknowledgments

I would like to thank the two anonymous reviewers who gave me some valuable pointers for the revision of this study.

This article is framed in the ‘Tourist destinations as intelligent territories. The Territorial Intelligence approach applied to destination planning and management: methods and instruments’ research project (CSO2014-53857-P), funded as an excellence project by the Spanish Government’s Ministry of the Economy and Competitiveness National R&D Programme.

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