Tourism in many ways effectively illustrates much of this thinking. It has provided the means of expression, and perhaps even the medium of change in the experience of emotion. In its rituals it can elicit a beneficial release of tensions and provide ‘mimetic’ alternatives to unrestrained behaviour, offering a ‘controlled de-control’ of emotion. As the research presented here illustrates, attractions employ a variety of techniques in attempts to elicit an emotional response. Blackpool pleasure Beach typifies how theme parks successfully use emotional discourse and sensory manipulation (particularly that associated with the visual) to encourage very real emotional reaction. Moreover, in providing something to be feared, the sight also provides the opportunity for tourists to play with their role and character (thus implicating feelings of shame and pride in the experience) whilst also providing a shared experience of emotion that can augment social bonds. In a different way, the Beatles Story Exhibition also demonstrates that by playing on the cultural and personal significance of an era, its music and prominent icons, it can for some at least be a genuinely important and moving experience. In both accounts, two extremes of significance are evident, one that identifies a collective and deep emotional significance, another that indicates little significance beyond immediate pleasure, or indeed disappointment. Hence, no matter how mediated the experience the tourist sight, it only provides the raw materials for emotion. The actual experience emanates from the disposition and the culture of tourists themselves.