Photo Elicitation Technique; Photography; Tourism Experience; Tourist Gaze; Visual Sociology;

https://www.scopus.com/inward/record.uri?eid=2-s2.0-85117857429&doi=10.1177%2f13567667211038955&partnerID=40&md5=575f23c3deef3d692bed754e9ec23a37

10.1177/13567667211038955

This article investigates the tourism experiences reflected on the photographs according to the tourist gaze theory. Tourists’ experiences are critically examined using the concept of the “romantic gaze” and “collective gaze.” Through qualitative, in-depth photo elicitation interviews (PEIs) guided by their own 185 photographs covering various tourist attractions in Kaleici (Antalya), results indicate similar and dissimilar tourism experiences between romantic and collective gaze. The experiences of tourists are categorized as tangible cultural heritage, intangible cultural heritage, natural heritage, atmosphere, contrast, living species, authenticity, emotion, sensory perception, interest, similarity, and touristic activities. While the feeling of curiosity, difference and interest, a sense of self-awareness, authenticity, and nostalgia are prominent in romantic gaze; tourists with a collective gaze reflect their group, friends, family, similarities and hedonistic feelings (entertainment, consumption, rest and interaction) to the photographs. The tourist gaze, which changes according to the society, social group, and historical period, is built on these differences. There is simply no universal experience that is always available to all tourists. In view of the results of this research, which aims to develop the theory about questioning the tourism experience, which is one of the most important issues for today's tourism marketers in practice through the tourist gaze, theoretical and policy implications are also discussed.