Regional branding : perspectives of tourists in Australia

This paper aims to explore the overlap and gap between the communication efforts of destination marketing organisations (DMO)’s and consumer perspectives of tourism destination within Australia. This paper applies qualitative and quantitative methodologies. Three stages of analysis are discussed. The web site content of state tourism authorities are analysed using Leximancer. The results show that states are using differing perceptual dimensions to portray characteristics of state tourism destinations. It is also found that consumers can recall the slogans and positioning of some states to a much greater extent than others. Finally it was shown that there was little correspondence and consistency between state positioning slogans and the destination promise and actual content on the web site.

Tourist use of mopeds in Queensland

Tourist use of mopeds in Queensland is encouraged by licensing regulations permitting moped riding for car licence holders, who may lack prior knowledge or experience of moped or motorcycle use. Using official crash and registration data, this research examines moped use by tourists, identified as crash-involved riders holding an interstate or overseas licence. Tourists were more likely to be younger, female, in single vehicle crashes, and deemed at fault than Queensland licence holders. Potential safety issues include poor riding skills, inexperience, inattention and lack of protective clothing. Moped rental companies play an important role in managing client crash and injury risks. These risks could also be reduced through introduction of more stringent licensing requirements, though this may be detrimental to moped rental companies as well as to tourist mobility and enjoyment. The discussion considers the relevance of adventure tourism perspectives and theory to the use of mopeds by tourists.

Lost in Translation, book review of Urban Landscape Perspectives

In Sofia Coppola's 2003 film Lost in Translation, Bill Murray and Scarlett Johansson's characters find themselves culturally stranded and oddly mismatched as an improvised tourist couple in contemporary Tokyo. This is an urban landscape that they cannot comprehend but only temporarily experience, in a fragmented and surreptitious way that allows no possible understanding and categorizations, but offers physical inclusion, emotional participation and momentary embeddedness.

Travel, back and forth, to the myth. Cinema´s contribution to the formation of the tourist iconography of Mallorca

Mallorca, the largest of the Balearic Islands, is a well-known summer holidays destination; an ideal place to relax and enjoy the sun and the sea. That tourist gaze reflected on postcards results from advertising campaigns, where cinema played an important role with documentaries and fiction films. The origins of that iconography started in the decades of the 1920’s and 1930’s, reflecting the so-called myth of the “island of calm”. On the other hand, the films of the 1950’s and 1960’s created new stereotypes related to the mass tourism boom. Busy beaches and the white bodies of tourists replaced white sandy beaches, mountains and landscapes shown up in the movies of the early decades of the 20th century. Besides, hotels and nightclubs also replaced monuments, rural landscapes and folk exhibitions. These tourist images mirror the social and spatial transformations of Mallorca, under standardization processes like other seaside mass tourist destinations. The identity was rebuilt on the foundations of "modernity". Although "balearization" has not ceased, nowadays filmmaking about Mallorca is advertising again a stereotype close to that one of the 1920s and 1930s, glorifying the myth of the "island of calm". This singular identity makes the island more profitable for capital that searches socio-spatial differentiation in post-fordist times.

Tourist Destination Image in the New Technological Environments: Dialogism under the Public Relations Gaze

The dependence and influence of new media on social and organizational life have led to a new orientation of the communicational practices of organizations and to a research paradigm shift to a cocriational model within public relations theory. This model is based on dialogic rhetoric and dialogue that requires a joint production of content and meanings by organizations and publics, which have a central role in shaping image. The new social and communicational paradigms have also an impact on tourism research, implying the need to understand the role of new technologies, particularly websites, in image formation. The purpose of this study is to investigate the role of website in the formation of a tourist destination image (Portugal) through the understanding of the degree of adoption of dialogical principles on websites by official and unofficial tourist organizations and the identifying of denotative and connotative elements that are represented on published and shared photographs in these websites. The research corpus consisted of websites of entities and photographs published and shared on these websites. The methodology used is quantitative and qualitative, based on content analysis of data of websites and photographs. Results indicate that official tourist entities adopted the dialogic principles in a higher degree than unofficials. There is also a higher adoption of the principles related to technical dimension than dialogical dimension. Results confirm a relation between the adoption of dialogical link and an increased openness by entities to the possibility of photo sharing. The analysis of denotative and connotative elements of photography reflects a similarity in representations of entities and tourists. This study contributes to both theoretical perspectives, because it provides a conceptual scheme of destination image formation online and to a practical perspective, because it also suggests guidelines of dialogical practices to incorporate in websites of tourism entities.

Best after rain : waterfall discharges and the tourist experience

Waterfalls attract tourists because they are aesthetically appealing landscape features that are not part of everyday experience. It is generally understood that falls are usually seen at their best when there is a copious flow of water, especially after heavy rain. Guidebooks often contain this observation when referring to waterfalls, sometimes warning readers that the flow may be severely reduced during dry periods. Indeed, many visitors are disappointed when they see falls at such times. Some are saddened when the discharge of a waterfall has been depleted by the abstraction of water upstream for power generation or other purposes. While, for those in search of the Sublime or merely the superlative, size is often important, small waterfalls can give great pleasure to lovers of landscape beauty. According to guidebooks, however, even these falls are usually best seen after rain. Drawing on tourist and travel literature and personal journals from the eighteenth century to the present, and with reference to examples from different parts of the world, this paper discusses the importance of discharge in the tourist experience of waterfalls.