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This chapter explores the concept of branding in a contemporary competitive arena of places. The multi-dimensional interpretations of places offer a variety of possibilities to better understand the true essence of destination branding. One of the common interpretations of places is through the study of their images, as destination branding requires a thorough understanding of destination image. The important foundation and relation of destination image are specified and explained. The notion of destination branding has evolved from the fields of marketing and urban studies and has become a cross-disciplinary research area. Thus, the researchers explain that destination branding as well as ‘place branding’ are dynamic concepts that are being continuously being explored in academia for the benefit of practitioners in travel and tourism. This chapter suggests that the use of brand equity is also one of the frontier areas of study in ‘place branding’ as it emphasises the need to thematise destinations (e.g. for their historical heritage, cultural value, natural attractions, etc.) and places for residence (e.g. as green cities, creative cities, smart cities, etc.).

The aim of this chapter is a discussion of the post-modern shift towards symbolic economies as a substantial factor of transformation of urban public space. It argues that the shift towards a cinematic mode of production, in which production, distribution and consumption of images assume a dominant role in the social organisation, calls for a related cinematic urbanism analysing the prime role of cities as factories in the global system of symbolic production. The city of Florence is assumed as an exemplar case study, examining the way the symbolic productive chain develops towards the real and virtual domains. I argue that Florence represents an archetype of the cinematic city, anticipating since the renaissance the tendency towards global symbolic production as a dominant sector of its urban economy.

Although tourism destination image is a widely studied subject, the perspective of local players is generally neglected, albeit its relevance for informing the positioning and brand management strategies of the places is recognized. This chapter aims to determine the perceptions of key local public organizations from the historical-cultural and heritage sectors and companies linked to commerce and tourism (private sector) about the historic center of a United Nations Educational, Scientific, and Cultural Organization (UNESCO) World Heritage site in Brazil. The results of this investigation contribute to the development of marketing and tourism development strategies in historic towns, especially those classified as World Heritage by UNESCO.

In this chapter, starting from a general overview of the problems linked to ‘symbolic consumption’ we will investigate the satisfaction of city users. We will then focus on tourist consumption, examining the impact of place identity on its fruition by the public. The focus will be on people's perception of an urban place and how this perception may interact with the symbolic dimension underlying both place identity and its consumption. Such a dimension is not strictly connected to the practical utility of the goods but to their ability to produce values and symbols for the establishment of personal identity. The data collected during an empirical survey regarding people's perception of the Navigli area of Milan have been used to develop this analysis.

This chapter considers the ways in which city images “travel” and are consumed at a distance. A significant body of existing research has examined UMPs in terms of attempts to produce particular images of cities for global circulation. Much less attention has been paid to assessing the “success” of imaging strategies – the means by (and extent to) which city images actually circulate and are consumed. Focusing on the travel of UMPs constructed in and around the Malaysian capital, Kuala Lumpur (KL) in the 1990s, the chapter seeks to provide a corrective to the production-centeredness of existing scholarship. Extending fieldwork-based research carried out in Malaysia in the 1990s, the chapter focuses on a series of accidental “encounters” with KL's UMPs outside Malaysia. Part of the aim of the chapter is precisely to begin to think about how the “consumption” side of UMPs, and associated effects, could be examined in more systematic ways in the future. Extra-Malaysian encounters with KL-sited UMPs such as the Kuala Lumpur City Center (KLCC) project are examined in terms of a range of means through which city images circulate: in film and TV performances, as tourist souvenirs and planning models, in building height charts and commercial advertising, and even through academic practices. Most instances in which UMPs are “consumed” at a distance might be banal and seemingly unworthy of study but, collectively, they can serve to forge new imaginings which, in turn, can have profound material implications for the cities concerned.

The branding concept has been applied to cities, destinations, regions and even nations to attract tourism, investments and residents. The Republic of Turkey with its rich historical heritage has been home to many applications of such diverse branding campaigns. While some of these campaigns have been criticised for their lack of efficacy, especially at the national level, several city-based or regional campaigns have proven more successful.

In this chapter, we review and examine place branding campaigns in Turkey. We provide examples of the increasing role of social media, cultural and historical heritage, role of movies and TV series, health- and faith-based tourism, mega-sports events, sustainable communications, the Slow City concept and public–private partnerships in contemporary place branding campaigns.

Much scholarship has looked at how radical politics and its symbolism are framed and distorted by the mass media, while less attention has been devoted to how the symbolic imagery of violence and death is used in activists’ self-representations. This chapter provides one such alternative angle by probing how “visual protest materials” are creatively used in activists’ own videos to pass on stories of communion and contestation.It interrogates how activist video practices mirror the continuum between physical places and mediated spaces in political activism by analyzing a thread of videos circulating on YouTube that commemorate people who have died in connection with three protest events across Europe, putting on display the “spectacles of death” punctuating each of these events. The analysis draws on social semiotics, in particular the work of Barthes (1981) and Zelizer (2010), to examine how death is used as a visual trope to signify the ultimate prize of taking to the streets. This chapter suggests how agency and meaning travel back and forth between offline and online spaces of activism. Engaging with some implications of this interplay, the chapter argues that, in the quest to document truth and induce realism and immediacy, tensions between fact and fiction emerge in the creative appropriation and remixing of images. Finally, it demonstrates how the cityscape is recruited to document and dramatize the spectacle of death as part of a larger struggle for semiotic resources within the protest space and over media representations of social movements more generally.

Many destination marketers organise events to draw economic benefits over the short and long term. However, this chapter suggests that events can result in more than economic benefits, as they can be used to improve a destination’s branding and image. The authors explain how the organisation and implementation of successful events can enhance the destination’s attributes. They explore the consumer-based brand equity (CBBE) of the event and examine its relationship with other variables, including the destination’s image. Moreover, they maintain that music festivals can enhance the destination’s image and branding, particularly, when the visitors share their positive experiences with others. The authors make reference to two Portuguese events: NOS Primavera Sound event and NOS ALIVE. In conclusion, they imply that such music events are improving the brand equity among customers and adding value to the destination marketing of Portugal.