Cinema, scenery and "andaluzadas" tourism: Andalusia Spain, rear projected heritage

Spain presented itself in films in order to promote international tourism through its picturesque and unique image: Andalusia. In this way, including in productions that took place in other regions (Galicia, Madrid, Castile-La Mancha, Catalonia), the basic and most cliche Andalusian appears in its romantic and secular image. This identifying synecdoche of "Spanish Identity" was seen as favored by touristic institutions. Aware of their power of attraction over foreign touristic consumers, and even Spanish people, themselves, who demonstrated satirical version of this phenomenon of identity theft on a national scale. In order to corroborate our hypothesis, we made a cinematographic analysis (semiotic and of content) of three key co-productions with national participation and support with the purpose of qualitatively supporting our hypothesis. It is about fi lms that do not hesitate in immersing themselves in the most obstinate of the stereotypical Andalusian image, by recognizing them in general and recognizing them within themselves. This way it is recognized as much in the ethnographic and folkloric area of productions aimed at international consumers, as well as in the depletion of that image for the national consumer. This article will take you through these cited productions and will demonstrate the possible connections of these " pastiche fi lms" to ones more recently released, such as Mission Impossible 2 (John Woo, 2000), Knight and Day (James Mangold, 2010) o Zindagi na milegi dobara (Zoya Akhtar, 2012).