The “Ninth Land”. Tourist Photo Documentary About the Homeland

During the 1920 – 30s the tourist photo documentary mediated between politically involved, urban photo journalism and homeland photography, cutting off the idyllic country life from the rest of society. The racing reporter was replaced by the strolling tourist--photographer who tried to overcome the contrast between the city and countryside, modernism and tradition, culture and nature. Whereas tourists represented the modernist, mobile part of society, peasants as its elementary-archaic core were portrayed as protectors of nature, folklore and tradition. The tourist photo reportage not only supported the development of rural areas, but also served as a means of asserting national values, mentalities and behavioral norms. Proud self-representations of the nation in idyllic landscapes anticipated the implementation of future social and political goals, and proclaimed the arrival of the new golden age. Showing the ideal world of dreams as already fulfilled in photographs, the tourist photo documentary strengthened love for the homeland and served as a subtle political-ideological means of nation-building.