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Under a reductionist view one might have the impression that it would be enough to shoot a blockbuster about a destination or at least with a destination as setting, and flows of tourists would be redirected to that destination. Apart from that the question arises about the cost-benefit relation. Language plays a decisive role in this process: Among the classic travel media like print, TV and broadcasting, print is dominant.

Brigitte, Stern or newspapers e. FAZ or Die Zeit , which participate in the medial construction of imaginary geographies of destinations. Apart from the neglected area of broadcasting there are a number of formats on travel in TV whose quality ranges from mere selling programs to high level reports Kleinsteuber and Thimm , p. Reports as kind of representation dominant in travel journalism are designed in a way that they tell an interesting story, create mental cinema, follow a rather film-like dramaturgy and they represent atmosphere as well as milieu Kleinsteuber and Thimm , p.

In travel magazines it is visually supported by introducing and accompanying image streams. This way travel magazines construct imaginary geographies exactly the kind their readers need, thus reinforcing them see documents 2 and 3. All media trying to position and sell themselves act that way. The themes and destinations selected normally correspond to the dominant travel movements of the readership.

Here the emphasis lies on the evaluation by users and not on the journalistic content. The credibility of these evaluations is higher than commercially motivated euphemistic reports about popular destinations because they come from real users who have been to the place. This intermediary as well can be integrated into the circular document 2 or the linear document 3 scheme. The self-referential role of the user-actor-tourist s. We select the kind of news and opinions that we care most about. Nicholas Negroponte of M. We may believe intellectually in the clash of opinions, but in practice we like to embed ourselves in the reassuring womb of an echo chamber.

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People transit in groups and opinion-fields which generate conformity. Similar and individual imaginary geographies are shaped into a collective imagination which then claims authenticity see document 5. It became the manifestation of a place of yearning Richter , p.

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But the south is also a reality, we can go there. During the 19th century the image of Sevilla was also marked by negative associations: Specially the flamenco, when enacted by gypsies became within this context a major symbol and defines the image of Andalusia or Sevilla until today.

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Carmen was not the only opera to use Sevilla as a projection screen. The official webpage of Sevilla and its facebook-page do the same see documents 7 and 8. Imaginary geographies of Sevilla, circular model. Imaginary geographies of Sevilla, linear model. In the case in point Sevilla the circular model describes the self-maintenance and the self-reinforcement, while the linear model considers imaginary geographies as the end point of a process.

In both cases the formation process of imaginary geographies powered by images becomes evident. The tourism business acquires concrete possibilities of manipulation forming these images by its proper marketing strategies. With press campaigns it can exert concrete influence on the intermediaries, the travel magazines. The success depends among other things on the relevance of the travel media within the context of other intermediaries and of other issuers of images of destinations. A touristic image of Sevilla may also be spoiltor blotted out by images of the general political situation of Spain, as for instance the economic and financial crisis.

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In such a case the imaginary geographies might undergo a temporary or permanent modification. It explains how the perception of destinations develops before, during and after the travel and why images of destinations can develop a very high persistence. Only the media and the authors differ, as well as the reader-respective user structure.

Classic travel media use predominantly print and the contents are written in the form of travel reports by professional journalists. New travel media, in particular Web 2. They normally do not have any journalist training. Both reinforce imaginary geographies of destinations. In this case one can observe the strong temporal persistence of historic constructs of images which were created particularly during romanticism and persist until today being touristically transformed into value. Until what degree of tension between imagination and reality imaginary geography could be maintained?

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Another interesting point would be the question in how far imaginary geographies change in the case of repetitive travelers. Theorien des Tourismus, in Voyage: The politics of place in the city of dreams, New York, Verso. Western Concepts of the Orient, London, Penguin. Cultural practice, neoliberal rationalism, and virulent imaginative geographies, Political Geography, 30 2 , pp. Destination Management, Marketing and Sustainable forms of tourism. Lake Constance region, India, Spain. Former professor of foreign languages at the Federal University of Minas Gerais.

Contents - Previous document - Next document. Translated by Guenther Augustin. Outline Imaginary Geography — conceptual framework.

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