Abstract
Abstract The semantic modalities of the adventure film genre are based on five thematic and epistemological components: colonialism, in terms both of real colonialism and of conceptualisations of the exotic; affectivity, realized as a field of contrasting affective orientations towards foreign countries; education, as well as a project of transition or adherence to the principles of Western civilisation; nature as an extreme environment and a challenge to the adaptability of adventurers; and finally, tourism as an implicit semiotic orientation. From the beginning, adventure films have been narrated in an expository mode; they develop their own iconographic stereotypes and forms of experiencing the cultural exotic.
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