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Dark tourism as a niche market has gained lately a lot of interest whether directly due to the public presentation of this tourism typology by Netflix media-service provider, or indirectly through the sudden increase of nuclear tourism flows in Chernobyl after the broadcast of the mini-series Chernobyl in HBO. Even though there have been various intentions to categorize the different types of dark destinations, they seem rather limiting in their effort to explain the attraction of darkness represented in objects and in experiences. This study attempts to offer a more complete typology of the actual tourism offer of dark destinations, based on the 26 dark attractions that were projected on the Netflix documentary series called “Dark Tourist”. The purpose is to show how the typology of these destinations is evolving and how enriching in terms of options for the tourist is becoming this niche market, in terms of object and experience authenticity, as well as in terms of active versus passive participation.

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Konstantina Zerva (Spain)
Universitat de Girona (UdG) (Spain) 2194
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