1. FILM VIEWER AS A TOURIST Parallels and connections between tourism/travel on the one hand and the moving image/media on the other. Similarity: both derive from human curiosity, the need to learn about different places and different people respond to a desire to escape from mundane reality. duration of their escape is limited The viewer who enters the film theatre is like a tourist who embarks on a journey.

2. Tourists and film viewers are described as disempowered addicts or sheep, following the flock and accused of passivity, of being consumers of objects and meanings rather than their creators and even of participating in a world that is unreal. Watching films = participating in a fake and absent world.

3. Equally, tourism and media consumption are perceived as based on a duality of US and THEM. In tourism discourse the US is always equated with those in the charge of the gaze, and THEM with the objects of this gaze. WE are always more civilized. Tourism discourse as colonial discourse.

4. IMAGINATION IS CRUCIAL Screen: -stimulates to produce our own film internally and suture fragmented story into a coherent whole and to speculate how it might be continued. Tour: -tourists who encounter only selected, isolated, framed snapshots of the country they visit, may seek to fill the gaps in their knowledge, imagining what the parts of the country they did not see might look like.

5. TRAVELLING = RECORDING FROM DISTANT TO CLOSE PERSPECTIVE (FRENCH NEW WAVE – AIR TRAVEL) TODAY: THE CAMERA NOT ONLY REGISTERS TOURIST ACTIVITIES BUT LARGE PROPORTION OF TOURISM IS STIMULATED BY MEDIA REPRESENTATIONS.

6. The expansion of the cruise industry since the 1970s has been enormous. The number of cruise-ship tourists worldwide had increased to 10 million by 2000. Even the ‘Love Boat’ television series contributed to the popularity of cruise travel because it popularized the connection that is frequently made between cruise travel and romance. Spitsbergen is visited by more than 25,000 tourist coming with cruise ships each year

7. Cruise ship as an isolated world. The world as a decoration. Hyperreality.

8. Bibliography: 1.Adam Weaver: Interactive service work and performative metaphors. The case of the cruise industry, „Tourists Studies” 2005, vol. 5(1),p. 5-27. 2.Ewa Mazierksa, John K. Walton: Tourism and the moving image, „Tourist Studies” 2006, vol. 6(1), p. 5-11.