“…As such, a dramatological perspective, examining symbolic and performative elements of on-screen tourism, underpins the conceptual foundation of 'on-screen dollying', thus synthesising the epistemologies of interpretivism, hermeneutics, and discourse analysis to explain how landscapes are dialectically co-organised by stakeholders and co-consumed by audiences. Consequently, the conception of 'on-screen dollying' reflects epistemological elaborations on heritage interpretation (Uzzel, 1992), tourism 'worldmaking' processes in recreating social constructions (Hollinshead, 2009;Hollinshead et al, 2009), and cinematic tourism network hermeneutics (Tzanelli, 2007(Tzanelli, , 2013(Tzanelli, , 2015 to better understand the role of film and television in making, remaking, and unmaking places as tourist destinations. From this perspective, the co-construction of meaning in place-making epitomises its dialectical intertextuality with genres, symbols, and the media that shape cultural expressions and (re)interpretations as authenticity and heritage intermingle.…”