tag:blogger.com,1999:blog-76207099056069743592024-03-12T20:27:55.630-07:00Interdisciplinary JourneysRodanthi S Tzanellihttp://www.blogger.com/profile/13598296362787216906noreply@blogger.comBlogger32125tag:blogger.com,1999:blog-7620709905606974359.post-37078990902322229302020-11-12T04:12:00.006-08:002020-11-12T04:20:53.372-08:00The Virus Diaries: Travels in Alterrealities<div style="text-align: center;"><iframe frameborder="0" height="270" src="https://www.youtube.com/embed/dZIMiQ8rjME" style="background-image: url(https://i.ytimg.com/vi/dZIMiQ8rjME/hqdefault.jpg);" width="480"></iframe></div><div style="text-align: center;"><br /></div><h2 style="text-align: center;"><span style="font-family: georgia; font-size: large;"><span style="background-color: white; color: #333333; text-align: left;">Avail</span><span style="background-color: white; color: #333333; text-align: left;">able on</span><span style="background-color: white; color: #333333; text-align: left;"> </span><a href="https://www.amazon.co.uk/gp/product/B08C9D71XQ/ref=dbs_a_def_rwt_bibl_vppi_i17"><span style="background-color: white; color: #333333; text-align: left;">Amazon</span><span style="background-color: white; color: #333333; text-align: left;"> </span></a></span></h2><div style="text-align: center;"><br /></div><div><div style="text-align: justify;"><span face=""Amazon Ember", Arial, sans-serif" style="background-color: #990000; color: white; font-size: 14px;">On 16 July 3580 Franz Nelson Moebius, lead scientist of the Gaia III mission on Earth, records a long message on the central database of Mars's Armageddon Colony, where humanity had to relocate when earth was declared unliveable. His message includes a selection of fragments from the 'Virocene': the long epoch humanity and earth entered when COVID-19 was declared a pandemic - one of the many viral onsets that would lead to the human species' relocation to Mars. Lost to plundering, political airbrushing and misplaced activism, the archives of the Virocene are now a strange hybrid of science fiction screenplays, distorted history and records of political espionage previously stored in Langley, London, the metropolitan headquarters of a network of Chinese colonies. Among them, Franz finds the Chronicles of the 'Daisy Rainbow Knights Order', a small anarchist cell comprised of Melissa Dreary, PVJB, SKA and TCE, which believes in a society free of the inequality sustained by authoritarianism and climate change. Its work on the invention of a master vaccine that will free humanity of hatred and illness is plotted in the context of progressive human rights repression and environmental pollution. Willing to risk everything, the cell's members decide to release their vaccine on the rift created between this world and the world of ancestral spirits, where, centuries into the Virocene, the government eliminated black populations protesting against inequality. However, the road to recovery and reconciliation proves as difficult as a coherent reading of the surviving records of the cosmogonic event that the Daisy Rainbow Knights Order set in motion with their actions: the 'Commemoration Troubles' of SARS-26-Covid 3004.The Virus Diaries unfolds as a collection of different stories that converge behind the idea of a social and environmental crisis, as this is narrated by several voices across millennia in the Virocene. Its central plot, which borrows from cinematic and discursive renditions of magical realism, science fiction and memory studies, forms an allegory of real problems that humanity and our planet face today.</span></div></div>Rodanthi S Tzanellihttp://www.blogger.com/profile/13598296362787216906noreply@blogger.com0tag:blogger.com,1999:blog-7620709905606974359.post-61698317234122978592020-11-04T01:12:00.000-08:002020-11-04T01:12:07.518-08:00Everything makes sense now little girl<iframe frameborder="0" height="270" src="https://www.youtube.com/embed/h3a-HTmtxS4" width="480"></iframe><div><br /></div><div><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">In crazy political times, all you can do is have a nutter. A contemporary surrealist note on feminism to have with your breakfast (or brunch) after the (first) US election day.
From Altermodernities: A Traveller's Notes (Book 3), which you can purchase in paperback from Amazon at: </span><span style="color: rgba(0, 0, 0, 0.87); font-family: Roboto, Noto, sans-serif; font-size: 15px; white-space: pre-wrap;">https://www.amazon.co.uk/Altermodernities-Travellers-Notes-Book-Searching/dp/B08L77LCT3/ref=tmm_pap_swatch_0?_encoding=UTF8&qid=&sr= </span></div>Rodanthi S Tzanellihttp://www.blogger.com/profile/13598296362787216906noreply@blogger.com0tag:blogger.com,1999:blog-7620709905606974359.post-49434372421343542582020-08-12T12:11:00.006-07:002020-08-12T12:18:53.128-07:00POETRY REVIEW 2: Tim Cresswell, Soil, Fence, Plastiglomerate<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijAW-2WDPHKZUe3d4tjG_n_Kn-Y1tw-vqhG9KG-0554wTS6_5XKrBP15OAa6svPN3v5W_TRPiIt0qOvCxeVvGerAAvm4jpuqqyB0r1TZaAKZfXJBCNnHe-7DV7d3ldQYybEbhO29Ud1Pag/s591/arisa-chattasa-BW-Z3OgZZks-unsplash.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="591" data-original-width="422" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijAW-2WDPHKZUe3d4tjG_n_Kn-Y1tw-vqhG9KG-0554wTS6_5XKrBP15OAa6svPN3v5W_TRPiIt0qOvCxeVvGerAAvm4jpuqqyB0r1TZaAKZfXJBCNnHe-7DV7d3ldQYybEbhO29Ud1Pag/s0/arisa-chattasa-BW-Z3OgZZks-unsplash.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;"><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">Tim
Cresswell, <i>Soil</i>, London: Penned in the Margins, 2013/2020 (£9.99,
paperback, ISBN:978-1-908058-15-7)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">Tim
Cresswell, <i>Fence</i>, London: <a name="_Hlk48072416">Penned in the Margins,
2015/2020 (£9.99, paperback</a>, ISBN: 978-1-908058-31-7).<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">Tim
Cresswell, <i>Plastiglomerate</i>, Penned in the Margins, 2015/2020 (£9.99,
paperback, ISBN: 978-1-908058-76-8).</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"><b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><br /></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"><b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">Reviewer</span></b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">: Rodanthi
Tzanelli<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">The
idea that a neatly organised volume of rhymed ideas mushrooms out of nowhere
betrays an ill-informed view on the ways poets arrive at a beautiful and/or
politically informed product. Likewise, the claim that poets manufacture well-organised
‘trilogies’ without a great deal of a posteriori engineering – both in terms of
self-narration and promotion – projects a flat picture of works with a deep passion
for language and ideas. Works of passion are uneven and occasionally also
contingent results of one’s craft, regardless of the mentorship one enjoys to
perfect what one does. I find that this is the case with Tim Cresswell’s
self-proclaimed trilogy ‘Earthworks’: the product of a beautifully crafted, but
also often uneven, labour of love that developed across a decade, each of the
three books (<i>Soil</i>, 2013; <i>Fence</i>, 2015; and <i>Plastiglomerate</i>,
2020) is self-standing, both stylistically and conceptually.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">This
is not an accusation – had this been the case, the reviewer would have acted in
bad faith, given her recently published trilogy (the production of whose poems dates
as far back as the late 1990s). Rather, it is an observation on the
manifestation of a <i>common structure</i> in presenting poetic ideas in
published form, behind which uniqueness and an unconfessed commitment to
particular idea(l)s hide. To properly review Cresswell’s work I would need more
space than I have here. As a compromise, I endeavour to provide some vignettes
from his three books, which I consider significant, if one wants to unearth
both commonalities and unconfessed commitments (an arc or series of arcs).
Cresswell has consistently received praise for his work, in which his “scientific
eye” is stressed somehow disproportionally over his sentimental and
aesthetic/emotional moments. Resorting to such typifications is both understandable
(he is a well-known geographer in academia) and not entirely accurate. It is
possible that because we belong to the same international and interdisciplinary
network of the ‘new mobilities paradigm’ I can provide an alternative look into
his work.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">I do
not see his books as a trilogy, but an intricate referential web in which we
find the effects of modern human behaviour on society and natural life.
Cresswell is a humanist at heart (he is a declared disciple of the late
humanist geographer Y.F. Tuan), so even when his writing focuses on pollution
(as is the case in the <i>Plastiglomerate</i>), he is reluctant to decentre the
human voice from his poetic scenario. The rare appearance of anti-humanist
philosophical voices such as Foucault in <i>Soil</i> begins with an abstract
analysis of soil-land-territory only to progress to an intimate discussion with
“mother” (possibly a metaphor for earth or land?). Therefore, we are back to
interrogating the place of humans in the new scientific principles of abstraction.
Humans also constantly travel the high Arctic in search of meaning and
belonging where boundaries and borders divide and define:</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><br /></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">“This
fence:</span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">metal
posts mark out empty intervals</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">post<span style="mso-spacerun: yes;"> </span>space<span style="mso-spacerun: yes;">
</span>post<span style="mso-spacerun: yes;"> </span>space<span style="mso-spacerun: yes;"> </span>post<span style="mso-spacerun: yes;">
</span>space</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">borders<span style="mso-spacerun: yes;"> </span>boundaries <span style="mso-spacerun: yes;"> </span>beating the bounds</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">once
a year:<span style="mso-spacerun: yes;"> </span>post<span style="mso-spacerun: yes;"> </span>post<span style="mso-spacerun: yes;">
</span>post […]</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">chainlengths<span style="mso-spacerun: yes;"> </span>poles<span style="mso-spacerun: yes;">
</span>planks<span style="mso-spacerun: yes;"> </span>beams<span style="mso-spacerun: yes;"> </span>barbed wire<span style="mso-spacerun: yes;"> </span>electric</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">rips
and zaps<span style="mso-spacerun: yes;"> </span>snagged clothes<span style="mso-spacerun: yes;"> </span>snarls of wood on nails […]”</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><br /></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">If
not a trilogy, then what? Let me try to walk you through a few signposts
scattered across the three books to highlight their hidden arc-plot(s): speaking
of water consumption in “A Glass of Water” in <i>Soil</i> announces the
appearance of several human actors, who drink several pints of it – “they say
my body is sixty percent this”, one of them says. “I thought of France/my
family/my friends/the fine sky”, and again, “when I was far from home/when/I
was north/when/I had grown accustomed to blue sky […] I stumbled in with my
cameras and calamity”,<span style="mso-spacerun: yes;"> </span>he proclaims in <i>Fence</i>
(xxxv), despite the book’s fascination with the exotic border. “<i>I can’t
breathe</i>”, he says, when “Alice” turns up in “Tremor” in <i>Plastiglomerate</i>
with nails painted in different colours, “each one a flag that means/something
to her”. The human narrator asphyxiates in these snapshots and feels alienated by
the fast pace of social change – note that this is the work of one of the
leading names in the new mobilities paradigm. Often non-human species assume in
his writing anthropomorphic qualities, or, otherwise, the poet assumes the role
of an observer of their fortunes in the Anthropocene, often from afar:</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><br /></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">“Here
come the helicopters<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">The
cameramen, clamouring<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">For
coverage, risking a stampede.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">The
walruses hunker down<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">Waiting
for a freeze-up.” (“Haul Out”, <i>Plastiglomerate</i>)</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><br /></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">It
is not always clear whether Cresswell is a virtual traveller or a presenter of
real experiences he has collected during his actual journeys. I respect the
preservation of this ambiguity as the sign of a successful staging of events. However,
the same ambiguity generates a stark contrast in his poetry between his horror
towards cultures of speed and his composed use of technologies associated with
such cultures to craft stories. I have used this technique deliberately myself,
and I wonder to what extent it is a conscious occurrence in his work. I
received no actual response to the question I recently asked him on whether he
is a magical realist (a theme I spotted in his use of folk myth to weave ideas
of transformation in <i>Soil</i> and <i>Plastiglomerate</i>) and wonder whether
this is an unconscious trend too. These dispositions work towards one end,
which, in my opinion is both magical and poignant.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">To
me, Cresswell’s ‘trilogy’ presents an alternative narrative of nostalgia, which
he prefers to camouflage as an “out of place” poetics of place (a theme in his
academic work). If humanist Y.F. Tuan and literary/social theorist Walter
Benjamin are among his favourite intellectuals, “Alice” is not in his fictional
world. If there is a trace of the “scientific gaze” in his poetry, it is mostly
cast upon the ways new age humans behave: they both fascinate him and amplify
feelings of uncertainty about the future in some of his poems. When he speaks
about transformations in his adaptation of Tam Lin in “Turn” (<i>Soil</i>), I
have the feeling that he conveys through erotic and somatosensory language
visceral encounters with the unknown, as well as the limits of human
articulation of the massive: pollution, social breakdown, and “homelessness”.
His affective style is more present and more effective in “Turn” and The “Two
Magicians” (<i>Plastiglomerate</i>) than in his shorter poems, such as “A
Theory of Migration” (<i>Plastiglomerate</i>), or “Disappointment” (<i>Soil</i>),
which have the form (again, intentionally, I suspect) of dry PowerPoint
presentations to convey rationalisation and alienation.<span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">I
bought all three books to read them carefully in my spare time, hoping that
they will be as interesting as the academic work that Creswell does. I found
their themes strangely familiar but also uncanny in their atmospheric
presentation. Cresswell is a good stylist, but also a polemicist when it comes
to questions of politics. His poetry revealed a different side, more nuanced in
its regard and possibly also more in line with the great critical analysts of
modernity. Without suggesting “pomophobia”, Cresswell is closer to modernist
trends. I am not sure whether this work would appeal to the young generations
of poets, mainly because its sober and at times elegiac tone transcends
individual concerns that rightly occupy more space among the younger creative voices.
It is, however, delightful to ponder for anyone interested in subtle critique
and the dark side of hope in an age of uncertainty.<o:p></o:p></span></p><br /></div>Rodanthi S Tzanellihttp://www.blogger.com/profile/13598296362787216906noreply@blogger.com3tag:blogger.com,1999:blog-7620709905606974359.post-35819213022262543032020-08-12T11:54:00.000-07:002020-08-12T11:54:02.189-07:00Poetry Review, 1: Awakening by Sam Love<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiT6iQcFdd1Hd1zTe8UGdTSb8TYhlfIO6-hGscOlz93SkWZbXmBC1DUoiEgcWf1XZoXI6BgknrSCF1buzUBa5zT2hepqMRY595Ph9D35PO1VCFYI6IOs-Xi5yhK9Ty29DjHnZddFkBISf_/s612/jr-korpa-fDYmz35vrd4-unsplash.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="408" data-original-width="612" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiT6iQcFdd1Hd1zTe8UGdTSb8TYhlfIO6-hGscOlz93SkWZbXmBC1DUoiEgcWf1XZoXI6BgknrSCF1buzUBa5zT2hepqMRY595Ph9D35PO1VCFYI6IOs-Xi5yhK9Ty29DjHnZddFkBISf_/s0/jr-korpa-fDYmz35vrd4-unsplash.jpg" /></a></div><p style="text-align: center;"><span style="font-family: courier;"><b>Photo by <a href="https://unsplash.com/@korpa?utm_source=unsplash&utm_medium=referral&utm_content=creditCopyText">Jr Korpa</a> on <a href="https://unsplash.com/s/photos/poetry?utm_source=unsplash&utm_medium=referral&utm_content=creditCopyText">Unsplash</a></b></span></p><p> <span face="" style="font-family: garamond, serif; font-size: 12pt; text-align: justify;">Sam Love, </span><i style="font-family: garamond, serif; font-size: 12pt; text-align: justify;">Awakening: Musings on Planetary
Survival</i><span face="" style="font-family: garamond, serif; font-size: 12pt; text-align: justify;">, New Mills, Derbyshire: Fly on the Wall Press, 2020 (£6.99,
paperback, ISBN: 978-1-913211-06-6)</span></p><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: justify;"><b><span face="" style="font-family: garamond, serif; font-size: 12pt;">Reviewer:</span></b><span face="" style="font-family: garamond, serif; font-size: 12pt;"> Rodanthi Tzanelli<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: justify;"><span face="" style="font-family: garamond, serif;">The review will appear in TPQ</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: justify;"><span face="" style="font-family: garamond, serif; font-size: 12pt;">There
is something sublime when reading about disappearing rainforests and a diagnosis
of the onset of a Spermageddon in Sam Love’s latest volume, <i>Awakening:
Musings on Planetary Survival</i>. The tone of the poems is orchestrated around
notions of an impending loss of ecosystemic balance on a planetary scale, and
yet, readers often find themselves smiling at his controlled humour or
horrified at the absurdity of human behaviour. Structured into four parts (“Awakening”,
“Origins”, “Impacts” and “Recovering Hope”), the collection retains the arc of
an ecological drama in which humanity is both the agent of disaster and its
ultimate victim. There is no doubt that Love thinks of this escalation into
nothingness in more positive terms than the catastrophists of climate change:
the book ends with a low-key note on our agency in small acts of kindness
toward nature, such as planting a tree, letting it flourish and watching
squirrels “weave their nests” in its branches. However, between the conclusion
and the grim opening of the book, in which someone reflects on the gallons of
water they use to relax in a jacuzzi (“as much … as a rural African / villager
uses in ten days”), we are taken on a rather unpleasant trip into the
Anthropocene.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: justify;"><span face="" style="font-family: garamond, serif; font-size: 12pt;">Like
most of Love’s previously published poetry, this chapbook reflects his interest
in questions of energy and the environment. His creative thinking blends tropes
of realism and surrealism, always with a large dose of humour:</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: justify;"><span face="" style="font-family: garamond, serif; font-size: 12pt;">“If
aliens wanted to destroy rival humanoids,<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: justify;"><span face="" style="font-family: garamond, serif; font-size: 12pt;">what
better way than to dangle<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: justify;"><span face="" style="font-family: garamond, serif; font-size: 12pt;">a
synthetic material so enticing,<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: justify;"><span face="" style="font-family: garamond, serif; font-size: 12pt;">we
couldn’t resist the lure<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: justify;"><span face="" style="font-family: garamond, serif; font-size: 12pt;">of
a plastic covered Earth?”</span><span face="" style="font-family: garamond, serif; font-size: 12pt;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: justify;"><span face="" style="font-family: garamond, serif; font-size: 12pt;">His
style is openly pedagogical (he has a jargon-free “module” that he wants to
teach us) and teleological (it will be about the end of life, if we are not
very good students), but also intentionally erratic (here very serious, there bordering
on the strange), so that he unsettles us. “If bacteria could do a belly laugh”,
he asks, “they’d be doubling over, because the real joke is on us: humans who
think we rule the earth”. Such Shakespearean prognostications on our demise
teach humility and occasionally aim to induce guilt: for stylising our kitchen
surfaces with ancient trees that natives respected as their source of sustenance
for centuries, when we display them now as tokens of conspicuous consumption
until they begin to develop cracks; for honouring our beloved dead by placing
on their grave “nearly-natural synthetic flowers”, because they can “keep
standing up, when you lay your loved one down”; or not collecting rogue plastic
bags from the streets but letting them join during downpours other plastic
detritus “destined to become the legacy of our so-called civilization”.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: justify;"><span face="" style="font-family: garamond, serif; font-size: 12pt;">There
is a strong contemplative feel in this collection, which I associate - in my
vocation as a scholar and my own work as a writer of poetry - with pilgrimage.
There is no religious association in his poetry, but only a desire to restore
harmony both materially and emotionally in our world. Love asks us to light a
candle for Mother Earth and “imagine [our] contribution to healing the planet”,
but the call is not a New Age ritual. The hard facts of pollution, neglect and
overconsumption that he lays out in his work are very difficult to stomach, and
even more difficult to challenge at the level of practice in a world bound by
capitalist mobilities and corruption. However, his ode to the ways the
histories of human hubris and nature’s retaliation against our excesses are
inextricably intertwined is worth reading for the clarity of its message and
beautiful form. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: justify;"><span face="" style="font-family: garamond, serif; font-size: 12pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p><br /><p></p>Rodanthi S Tzanellihttp://www.blogger.com/profile/13598296362787216906noreply@blogger.com2tag:blogger.com,1999:blog-7620709905606974359.post-24555078188097736062020-06-30T13:15:00.000-07:002020-06-30T13:15:49.098-07:00Worldmakings: A Book of Blogs<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsSJe5zFVmDrkbYjHhR2-EjQ4M3rPz-LqQyxmUZE4o0b-lrusQ14SlcAdYYPE-NRTnYEomclRYTSURTY3qpoyvAaMaLjEj32_UhuvizvCCZ_XrTOSuPf8k4O7urVIhlpsCGFDblsapfQTm/s1600/51XDlHbod8L.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="314" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsSJe5zFVmDrkbYjHhR2-EjQ4M3rPz-LqQyxmUZE4o0b-lrusQ14SlcAdYYPE-NRTnYEomclRYTSURTY3qpoyvAaMaLjEj32_UhuvizvCCZ_XrTOSuPf8k4O7urVIhlpsCGFDblsapfQTm/s320/51XDlHbod8L.jpg" width="200" /></a></div>
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Kindle edition on <a href="https://www.amazon.co.uk/gp/product/B08BBY88CW/ref=dbs_a_def_rwt_bibl_vppi_i1">Amazon</a></div>
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Paperback edition on <a href="https://www.amazon.co.uk/Worldmakings-Blogs-Dr-Rodanthi-Tzanelli/dp/B08BF1W355/ref=tmm_pap_swatch_0?_encoding=UTF8&qid=&sr=">Amazon</a></div>
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<span style="background-color: white; color: #333333;"><span style="font-family: Georgia, Times New Roman, serif;">The present book includes a collection of essays organised into four thematic clusters that converge behind a single conceptual umbrella: that of worldmaking. Philosophical in its origins, ‘worldmaking’ refers to both cognitive and practical acts that organise the physical and social environments we inhabit. Section one (Gendered Worldmakings: Interplays of Culture with Politics) considers the behaviour and actions of some political leaders and former politicians, who tend to adopt gendered styles in the discharge of their duties or the choices they make, with various consequences of international or cultural significance. Section two (Small Acts with Grave Consequences) does something similar, but selects incidents whose protagonists are not celebrities but common citizens who react to particular pressures. Section three (Markets and Intersectional Worldmakings) considers the worldmaking power of international markets, especially with regards to their ability to trap or liberate human subjects from structures of inequality. The last section (Worldmakings and Sustainability) interrogates the ways organisations and state institutions act to create or sometimes unintentionally destroy liveable environments for world societies.</span></span></div>
Rodanthi S Tzanellihttp://www.blogger.com/profile/13598296362787216906noreply@blogger.com0tag:blogger.com,1999:blog-7620709905606974359.post-85794017576823227042020-05-27T19:44:00.006-07:002020-05-27T19:54:57.893-07:00Constellations: A Trilogy<div class="separator" style="clear: both; text-align: center;">
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<b><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">A POETRY COLLECTION</span></b></div>
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<span style="mso-ansi-language: EN-GB;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">The three collections that feature in this book
were fragments of impressions that I have been collecting from my journeys
since my relocation to the UK. A Greek by birth, but a traveller at heart, I
love blending stories I hear with my own perceptions of the cultures and people
I meet. The first collection (‘Anna’s Lament’) features the oldest poems, and
is designed on archaic myths and medieval Greek historical personalities; the
second collection (‘Envisaged Certainties’) is progressively more hybrid in its
narratorial and literary style, introducing towards the end travels in the cyberspace;
the last collection (‘Elements and Lovers’) anchors its key plot on digital
travel, to conclude the trilogy on reflections regarding the significance of
embodiment and affect in forming enduring relationships. <o:p></o:p></span></span></div>
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Rodanthi S Tzanellihttp://www.blogger.com/profile/13598296362787216906noreply@blogger.com0tag:blogger.com,1999:blog-7620709905606974359.post-28991591938227149652020-04-09T00:22:00.000-07:002020-04-09T00:23:45.449-07:00Call for Blogposts, Northern Notes Blog, School of Sociology & Social Policy, Leeds<br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">During April and May 2020, the Northern Notes Blog, a blog published
by the School of Sociology and Social Policy (SSP) at the University of Leeds,
is recruiting international scholars and final-year doctoral students to
contribute to its ground-breaking series on the impact of the COVID-19 on
society, culture and politics. We are looking for short contributions on a
particular aspect of the contributor’s personal research that connects to the
COVID-19 crisis. Country-specific proposals are most welcome, and area-specific
ideas (e.g. tourism mobilities, social movements, art etc) are preferred. Thematically
open but structured around the idea of cultural and/or societal crisis, these
short posts will feature in the School’s official website and be advertised
internationally by the University’s marketing team. For previous published
posts and an overview of the School’s NNB programmatic statement please visit: <a href="https://northernnotes.leeds.ac.uk/about/">https://northernnotes.leeds.ac.uk/about/</a>
</span><br />
<br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">We welcome <b style="mso-bidi-font-weight: normal;">reactive
posts. </b>These posts are important for raising awareness of the contributor’s
research expertise (and areas of non-academic impact), informing wider public
debate of social scientific perspectives. The blog is overseen by an <b style="mso-bidi-font-weight: normal;">editorial team</b> of academic staff. The
core team includes Dr Rodanthi Tzanelli (Current Editor-in-Chief), Dr Roxana
Barbulescu, Dr Sarah Marusek and Dr Abel Ugba, along with Director of Research,
Dr Paul Baguley, Head of REF Dr Angharad Beckett and Head of School, Professor
Bobby Sayyid. All posts will be reviewed
and copy-edited by the editorial team before publication.</span><br />
<br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Interested scholars, practitioners and doctoral students
must have a mastery of English and a specific research agenda around which they
will structure their blogpost (1,000-1,500 words). For initial expressions of
interest please email Dr Rodanthi Tzanelli at <a href="https://www.blogger.com/null">r.tzanelli@leeds.ac.uk</a> (email title:
‘NNB COVID-19 Series Expression of Interest’) with a 100-word abstract and a
provisional title of your proposed blogpost. <b>The deadline for accepting
proposals is 15 May 2020</b>.</span><br />
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: "times" , "times new roman" , serif;"></span><span style="font-size: large;"></span>Rodanthi S Tzanellihttp://www.blogger.com/profile/13598296362787216906noreply@blogger.com0tag:blogger.com,1999:blog-7620709905606974359.post-57224292250254259062020-03-06T08:08:00.000-08:002020-03-25T16:00:54.669-07:00NEW MONOGRAPH: Magical Realist Sociologies of Belonging and Becoming The Explorer<div class="separator" style="clear: both; text-align: center;">
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Magical Realist Sociologies of Belonging and Becoming</h1>
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The Explorer</h2>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><br />
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At the bottom of the sea, freedivers find that the world bestows humans with the magic of bodily and mental freedom, binding them in small communities of play, affect and respect for nature. On land, rational human interests dissolve this magic into prescriptive formulas of belonging to a profession, a nation and an acceptable modernity. The magical exploration is morphed by such multiple interventions successively from a pilgrimage, to a cinematic and digital articulation of an anarchic project, to an exercise in national citizenship and finally, a projection of post-imperial cosmopolitan belonging.</div>
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This is the story of an embodied, relational and affective journey: the making of the explorer of worlds. At its heart stands a clash between individual and collective desires to belong, aspirations to create and the pragmatics of becoming recognised by others. The primary empirical context in which this is played is the contemporary margins of European modernity: the post-troika Greece. With the project of a freediving artist, who stages an Underwater Gallery outside the iconic island of Amorgos, as a sociological spyglass, it examines the networks of mobility that both individuals and nations have to enter to achieve international recognition, often at the expense of personal freedom and alternative pathways to modernity.</div>
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Inspired by fusions of cultural pragmatics, phenomenology, phanerology, the morphogenetic approach, feminist posthumanism and especially postcolonial theories of magical realism, this study examines interconnected variations of identity and subjectivity in contexts of contemporary mobility (digital and embodied travel/tourism). As a study of cultural emergism, the book will be of interest to students and scholars in critical theory, cultural, postcolonial and decolonial studies, and tourism/pilgrimage theory.</div>
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Reviews</h3>
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"The book is an imaginative contribution to the sociology of aesthetics and offers interesting perspectives on mobility and belonging."</div>
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<i style="box-sizing: border-box;">— Gerard Delanty, Professor of Sociology, Social and Political Thought, Sussex European Institute & School of Law, Politics and Sociology.</i></div>
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"Rodanthi’s multi-layered monograph offers intricate social-scientific analyses of the key human processes of becoming and belonging. Through four rhizomatic ‘readings’ that draw on various instantiations of the magical-realist type of ‘the explorer’, the author shares her critical insights about the current condition of Greece in particular and post-colonialisation and neo-liberalisation in general. That this thought-provoking text is hard to summarize or categorize is perhaps all the more reason to read it."</div>
<i style="-webkit-text-stroke-width: 0px; background-color: white; box-sizing: border-box; color: #333333; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 15px; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"></i><br />
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<i style="-webkit-text-stroke-width: 0px; background-color: white; box-sizing: border-box; color: #333333; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 15px; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">— Noel B. Salazar, Sociocultural Anthropologist, Katholieke Universiteit Leuven.</i></div>
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<i style="box-sizing: border-box;"></i>"This remarkable and incredibly wide-ranging book is on one level a study of a tourist event, the ‘one breath’ Underwater Gallery off the Greek island Amorgos, but it is also about so much more. Through uncovering the many modalities and layers of the tourist site, Tzanelli encompasses, one might say, a breathtakingly original and challenging interrogation of cultural theory, modernist aesthetics, tourist studies, sociology, visual theory, feminism, and postcolonial theory. Through a magical realist, contrasted with rationalist, lens her book is also informed by an emancipatory imperative to elucidate alternative visions of modernity through exploration of existential, experiential and corporeal travel. It is a landmark work of empirical sociological study and critical social theory."</div>
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<i style="box-sizing: border-box;">— Larry Ray, Professor of Sociology, University of Kent.</i></div>
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"Social thinking is a creative endeavor. Unfortunately, there is often quite far between real manifestations of critical-creative social thinking. Rodanthi Tzanelli’s book on <em style="box-sizing: border-box;">Magical Realist Sociologies of Belonging and Becoming</em> comes to a well-awaited rescue for those stranded on the shores of routinized thinking. Rarely do we find such creativity in the field as in this book. The exploration reaches deep into the waters of interdisciplinary reflection, and travels across the vast territories of art, philosophy, and social theory making an important lighthouse for contemporary social thinking. We needed a magical realist map of this world, and Dr. Tzanelli just provided us with one."</div>
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<i style="box-sizing: border-box;">— Ole B. Jensen, Professor of Urban Theory, Department of Architecture, Design & Media Technology, Aalborg University.</i></div>
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"This is the first book to boldly and magically transform traditional notions of worldmaking, being and becoming, critically challenging industrial capitalism and rationalized modernity to create radical conceptualizations of ethnic, gendered and non-human difference. Guided by Greek magic realism and postcolonial modes of ‘realist magic’, Dr. Tzanelli undertakes a philosophical and cultural journey into the multidimensional phenomenon of popular culture, transcending disciplinary silos, decentering the sociological imagination from Western-centered perspectives, and interleaving magically with tourism to construct new ontological and epistemological understandings and analyses of cultural pragmatics. Interview quotes and a personalized narrative weave artistry into phenomenal and material exploration of digital and cinematic technologies, "govermobility", emotion, embodiment and performativities of belonging."</div>
<i style="-webkit-text-stroke-width: 0px; background-color: white; box-sizing: border-box; color: #333333; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 15px; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"></i><br />
<div style="-webkit-text-stroke-width: 0px; background-color: white; box-sizing: border-box; color: #333333; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 15px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; margin: 0px 0px 16px; max-width: 680px; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">
<i style="box-sizing: border-box;">— Tazim Jamal, Professor, Department of Recreation, Park and Tourism Sciences, University of Texas.</i></div>
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"In this work of iconoclastic erudition, which drives a critical wedge into the authority of rationalist social-science epistemologies, Rodanthi Tzanelli probes the persistence of hierarchies of art, scholarship, and cultural identity in the neoliberal age. By performing this exercise in a particular country, Greece, and by sympathetically connecting that country’s cultural specificities to its ongoing geopolitical vicissitudes, she reveals the dynamics and constraints of local artistic production as symptomatic of global realities – and especially of the capacity of powerful interests to disenchant the world by denying or fixing the significance of embodied experience."</div>
<div style="-webkit-text-stroke-width: 0px; background-color: white; box-sizing: border-box; color: #333333; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 15px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; margin: 0px 0px 16px; max-width: 680px; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">
<em style="box-sizing: border-box;">— Michael Herzfeld, Ernest E. Monrad Research Professor of the Social Sciences, Harvard University.</em></div>
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"Tzanelli’s unique book takes us on a journey of embodied artistic subjectivity as it navigates modernity’s multiplicity, and especially the price that must be paid for protecting what one loves in the (post)colonial, hypermobile Capitalocene. Those with a deep knowledge of sociological theory will particularly appreciate Tzanelli’s layered and complex treatment of the issues she considers, while more general tourism studies readers will enjoy tracing the book’s central character and his freediving community’s artistic engagement through tourism’s governmental-industrial worldmaking machine."</div>
<div style="-webkit-text-stroke-width: 0px; background-color: white; box-sizing: border-box; color: #333333; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 15px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; margin: 0px 0px 16px; max-width: 680px; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">
— <i style="box-sizing: border-box;">Kellee Caton, Professor of Tourism, Thompson Rivers University.</i></div>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><br />
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><br />Rodanthi S Tzanellihttp://www.blogger.com/profile/13598296362787216906noreply@blogger.com0tag:blogger.com,1999:blog-7620709905606974359.post-17597338400866296172019-03-14T06:52:00.001-07:002019-03-14T06:52:47.555-07:00Worldmaking and the Economy of Desire in Rio 2016<div style="text-align: center;">
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "bookman old style" , serif; font-size: 18pt; margin: 0px;"><a href="https://spmob2019.wixsite.com/spmob2019"><span style="color: #0563c1;">SP MOBILITIES SAO PAOLO, 13-15
March 2019</span></a></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: #c00000; font-family: "bookman old style" , serif; font-size: 14pt; margin: 0px;">Worldmaking
and the Economy of Desire in Rio 2016</span></b></div>
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You can watch this presentation on <a href="https://www.youtube.com/watch?v=H3_PxKz7kbw">You Tube</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij9kU6o9kKU3TVALpxBYmpXdgTeV_9oFFee7emJLgPNk2o6SO72qEv46SHxHVEzpFSBtbcWGusib0St33Mp-SzLFUmegx-ZnrQKYLET66bQ9lf3civwKwHt17u4DozZcdiazbEaXw6PH0W/s1600/36464073_230719771072694_5625397526912827392_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="200" data-original-width="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij9kU6o9kKU3TVALpxBYmpXdgTeV_9oFFee7emJLgPNk2o6SO72qEv46SHxHVEzpFSBtbcWGusib0St33Mp-SzLFUmegx-ZnrQKYLET66bQ9lf3civwKwHt17u4DozZcdiazbEaXw6PH0W/s1600/36464073_230719771072694_5625397526912827392_n.jpg" /></a></div>
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<span style="font-family: "bookman old style" , serif; font-size: 12pt; margin: 0px;">Cities partake
in selection competitions for the Olympic Games in their desire to be included
in an international community of nations upholding a set of ‘universal values’.
They promise to promote these values through the impeccable organization of the
mega-event, in an ordered, safe and hospitable manner. Such ‘scripts’ can be
followed with some degree of precision, but the precision itself comes at a
cost. </span></div>
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<span style="font-family: "bookman old style" , serif; font-size: 12pt; margin: 0px;">This is what the
<i style="mso-bidi-font-style: normal;">Citade Maravilosa</i>, a city of phantasmagoric
postcolonial mobilities, discovered during one of the most challenging projects
it undertook in its modern history. The Rio 2016 ‘project’ proved a
double-edged sword, cutting the city both at the end of discipline and
punishment and that of self-fulfilment through art-making and tourist
worldmaking. With every change introduced to its fabric to produce a
universally acceptable profile, new sociocultural problems emerged or old ones
were exacerbated, withering its ‘marvelousness’ for the sake of conforming to
the demands of hospitality. Today, intellectual, academic and political critics
of this persistence to host the Olympics continue to perform post-mortem
examinations on Rio de Janeiro’s wounded cultural and social spheres, whereas
its citizens continue to clean the bloodbath of violence caused by the
mega-event’s ‘pacifications’.</span></div>
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<div style="line-height: normal; margin: 0px 0px 8px;">
<span style="font-family: "bookman old style" , serif; font-size: 12pt; margin: 0px;">In this
presentation I outline the ways in which we can approach the economic,
political and cultural cost of securing a ‘passport’ to the mega-event’s
amplified global mobilities of tourism, professional migration and technology. I
provide you with two scenarios. First, I argue that for Rio the cost was
double: not only did the passport posit serious challenges and obstacles to the
city’s field of justice, it also invited the ‘scientisation’ of its <i style="mso-bidi-font-style: normal;">carioca</i> uniqueness, thus reducing it
into a spectacle to be enjoyed ‘from afar’. The two costs are interdependent
and point to Rio’s (in)ability to protect its freedom in late capitalism. The
second scenario is contentious for its optimism. I claim that there are also
voices of hope articulated within these stringent structures of international,
national and regional regulation, which point to alternative vistas of a
brighter future. To explore conflicting forces within this desire to make
better worlds for <i style="mso-bidi-font-style: normal;">cariocas</i> and their
guests, I dig a bit deeper into the cultural poetics of Rio 2016. This poetics
supersedes politics and can be potentially liberating. </span></div>
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Rodanthi S Tzanellihttp://www.blogger.com/profile/13598296362787216906noreply@blogger.com0tag:blogger.com,1999:blog-7620709905606974359.post-9833996685193997732019-03-13T09:34:00.002-07:002019-03-13T09:34:46.639-07:00Reconsidering tourismophobia in cinematic tourism mobilities
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 18pt; line-height: 107%; margin: 0px;">SSP Research Culture
Seminar Series</span></b></div>
<div align="center" style="margin: 0px 0px 10.66px; text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 18pt; line-height: 107%; margin: 0px;">13 March 2019</span></b></div>
<div align="center" style="margin: 0px 0px 10.66px; text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 18pt; line-height: 107%; margin: 0px;">Dr Rodanthi Tzanelli</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFCp90aUgMEhZgFkL51lm4wrARerc9Fhyh9TG8NWG94XN_EDXJASNwzMuuox0QnQHPpEHbdpKmJI7gaINe5ASc4n7nd1Cn8b22C4j2aGV9r2js2D4LMws8BC5p_jxfyJEI6SMi-3Qtrrln/s1600/148141_534101513285652_1401040459_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="478" data-original-width="720" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFCp90aUgMEhZgFkL51lm4wrARerc9Fhyh9TG8NWG94XN_EDXJASNwzMuuox0QnQHPpEHbdpKmJI7gaINe5ASc4n7nd1Cn8b22C4j2aGV9r2js2D4LMws8BC5p_jxfyJEI6SMi-3Qtrrln/s320/148141_534101513285652_1401040459_n.jpg" width="320" /></a></div>
<div style="text-align: center;">
Abstract</div>
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<span style="font-size: large;">SEMINAR SLIDES UPLOADED: </span></div>
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<u></u><span style="color: #000120;"></span><u></u><span style="color: #000032;"></span><u></u><span style="color: #000050;"></span><a href="https://www.slideshare.net/tornadora13/ssp-13-march-2019"><span style="font-size: large;">ON SLIDESHARE</span></a></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Times, "Times New Roman", serif; font-size: large;">The presentation
focuses on the ways localities, nation-states and national or international
activists (as the former’s spokespersons) respond to excessive cinematic touristification
in reactionary or defensive ways. The cases upon which I draw are mostly
episodic, but crucial for the current global climate of hostility against forms
of strengerhood. Because established analytical frames on social movements do
not assist in the study of most such episodic expressions of discontent, a new
analytical model is devised to tease out their affective significance in the
grand scheme of globalisation. </span></b></div>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: Times, "Times New Roman", serif;"></span><span style="font-size: large;"></span></div>
<b style="mso-bidi-font-weight: normal;"><span style="line-height: 107%; margin: 0px;"><div align="center" style="margin: 0px 0px 10.66px; text-align: center;">
<i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: Times, "Times New Roman", serif;"></span><span style="font-size: large;"></span><br /></div>
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<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: Times, "Times New Roman", serif;"></span><span style="font-size: large;"></span>Rodanthi S Tzanellihttp://www.blogger.com/profile/13598296362787216906noreply@blogger.com0tag:blogger.com,1999:blog-7620709905606974359.post-12772767576133157542018-12-04T05:12:00.000-08:002018-12-04T05:22:17.115-08:00ISA Call for Papers on the theme of ‘Critical Thinking in Tourism Studies’ for Tourism, Culture and Communication<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqM1gjUPWjHE0cEfPmolMsfu5iYsvsG0wyCjweUPOeNk_jKndhiFZ7l3bg6FbUHt4AjaLboHWRjPlDLO-_VdybmuCddj2K9LK4CLOxGu0lufYwZpMk9cKEq_kPo-tA9IJmZ1iNoMJVvMXW/s1600/logo%252520ISA-RC50.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="268" data-original-width="1150" height="74" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqM1gjUPWjHE0cEfPmolMsfu5iYsvsG0wyCjweUPOeNk_jKndhiFZ7l3bg6FbUHt4AjaLboHWRjPlDLO-_VdybmuCddj2K9LK4CLOxGu0lufYwZpMk9cKEq_kPo-tA9IJmZ1iNoMJVvMXW/s320/logo%252520ISA-RC50.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ4Fs0upy1I2-CtW6xdYDYEBMYt9TTQedVV_ya-PR5ySR_fQhkWxj5iPtpnSxnPTGBvAN3G0zYVNeDsmKPXAKJabkErxyR-FNFiRMob_DTE9b8IJzMokXGseOWd6TriwxQqHRqgkrlF1i7/s1600/Tourism_Culture__58e6c69121200_146x203-600x711.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="711" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ4Fs0upy1I2-CtW6xdYDYEBMYt9TTQedVV_ya-PR5ySR_fQhkWxj5iPtpnSxnPTGBvAN3G0zYVNeDsmKPXAKJabkErxyR-FNFiRMob_DTE9b8IJzMokXGseOWd6TriwxQqHRqgkrlF1i7/s320/Tourism_Culture__58e6c69121200_146x203-600x711.jpg" width="270" /></a></div>
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<span style="color: black; font-family: "calibri" , sans-serif;"><div style="text-align: justify;">
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<span style="color: #f3f3f3;"><o:p></o:p></span><div style="text-align: justify;">
<span style="color: #f3f3f3;"><span style="color: black; font-family: Times New Roman;"></span> </span></div>
<span style="color: #f3f3f3;"><span style="color: black; font-family: "Calibri",sans-serif;"><span style="background-color: black; color: white;">We are pleased to
announce a NEW Call for Papers on the theme of ‘Critical Thinking in Tourism
Studies’ for <i style="mso-bidi-font-style: normal;"><a href="https://www.cognizantcommunication.com/journal-titles/tourism-culture-a-communication" id="LPlnk449275" previewremoved="true"><span style="color: #0563c1;">Tourism, Culture
and Communication</span></a></i>, managed by Guest Editors </span><a href="https://essl.leeds.ac.uk/sociology/staff/54/dr-rodanthi-tzanelli" id="LPlnk823859" previewremoved="true"><span style="color: #0563c1;"><span style="background-color: black; color: white;">Rodanthi Tzanell</span></span></a><span style="background-color: black; color: white;">i,
University of Leeds, UK and </span><a href="https://www.researchgate.net/profile/Maximiliano_Korstanje" id="LPlnk880599" previewremoved="true"><span style="color: #0563c1;"><span style="background-color: black; color: white;">Maximiliano
Korstanje</span></span></a><span style="color: white;"><span style="background-color: black;">, University of Palermo, Argentina.<b style="mso-bidi-font-weight: normal;"> This Special Issue is a COLLABORATIVE PUBLICATION between TCC and ISA
(The International Sociological Association) via the latter's Research
Committee (RC50) on 'International Tourism' Commissioning Editors are
Keith Hollinshead (TCC) and Rukeya Suleman (RC50 / ISA).</b><o:p></o:p></span></span></span></span><br />
<div style="text-align: justify;">
<span style="color: #f3f3f3;"><span style="background-color: black; color: white; font-family: Times New Roman;">
</span></span></div>
<span style="color: #f3f3f3;"><span style="color: white;"><span style="background-color: white;"><span style="color: black; font-family: "Bookman Old Style",serif; mso-bidi-font-family: Calibri;">The importance of criticality in the development of
different analytical traditions in tourism studies is indisputable. Whether
they focus on Marxist-inspired critiques of industrial production, in which
tourism is a ‘consciousness industry’ (Enzensberger 1974), on Wallerstein’s
‘systems theory’ in which an exploitative European ‘world centre’ caters for
tourist demand to consume peripheral exoticism (Greenwood 1977; Britton 1989),
on occulocentric practices organised by ‘experts’ and consumed by clients
(Urry 1999, 2002; Hollinshead 2009), or on the deployment of tourism as a
performative tool for collective self-aggrandizement by states and communities
(MacCannell 1973; Edensor 2002), such arguments seek to promote particular
modes of critical thinking. </span><span style="color: black; font-family: "Calibri",sans-serif;"><o:p></o:p></span></span></span></span><br />
<div style="text-align: justify;">
<span style="color: #f3f3f3;"><span style="background-color: white; color: white; font-family: Times New Roman;">
</span></span></div>
<span style="color: #f3f3f3;"><span style="color: white;"><span style="background-color: white;"><span style="color: black; font-family: "Bookman Old Style",serif; mso-bidi-font-family: Calibri;">As early as the 1940s, Frankfurt School-inspired critical
theory equipped tourist studies scholarship with appropriate tools to examine
tourism as an economic process, a multi-industry and a social fact (von Wiese
1930; Bornmann 1931). Indeed tourism’s contribution to an essential division of
human activities between work and leisure in Western and European societies
(Krippendorf 1986) --- which coincided with the institution of paid holidays as
a universal right (1940) --- fed into such arguments, so the critical turn
became entangled in globalised/Europeanised institutional changes, inducing new
objections to treating tourism as a universal value. From the late 1990s-2000s,
a ‘new mobilities paradigm’ (with its ‘critical mobilities’ branch (Söderström
et al. 2013)) breathed new life into these debates by employing new
methodological and epistemological tools from Complex Adaptive Systems and
Actor-Network Theory, in which ‘systems’ comprise more or other-than-human
actants that propel different types of human performance in tourism (Sheller
and Urry 2004; Hannam et al. 2006). </span><span style="color: black; font-family: "Calibri",sans-serif;"><o:p></o:p></span></span></span></span><br />
<div style="text-align: justify;">
<span style="color: #f3f3f3;"><span style="background-color: white; color: white; font-family: Times New Roman;">
</span></span></div>
<span style="color: #f3f3f3;"><span style="color: white;"><span style="background-color: white;"><span style="color: black; font-family: "Bookman Old Style",serif; mso-bidi-font-family: Calibri;">Regardless of their differences, all these arguments and
schools share an interest in the promotion of critical thinking. This Special
Issue seeks to bring to academic discourse what ‘critical thinking’ <i style="mso-bidi-font-style: normal;">truly is</i> as an epistemic mode favouring
systems, or a form of structural and/or agential meaning-making performed by
host communities, tourists, tourist design industries and scholars in tourist
studies and other cognate fields. </span><span style="color: black; font-family: "Calibri",sans-serif;"><o:p></o:p></span></span></span></span><br />
<div style="text-align: justify;">
<span style="color: #f3f3f3;"><span style="background-color: white; color: white; font-family: Times New Roman;">
</span></span></div>
<span style="color: #f3f3f3;"><span style="color: white;"><span style="background-color: white;"><b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "Bookman Old Style",serif; mso-bidi-font-family: Calibri;">Topics:</span></b><span style="color: black; font-family: "Calibri",sans-serif;"><o:p></o:p></span></span></span></span><br />
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<span style="color: #f3f3f3;"><span style="background-color: white; color: white; font-family: Times New Roman;">
</span></span></div>
<span style="color: #f3f3f3;"><span style="color: white;"><span style="background-color: white;"><span style="color: black; font-family: "Bookman Old Style",serif; mso-bidi-font-family: Calibri;">Some <i style="mso-bidi-font-style: normal;">indicative but
not exhaustive themes </i>for possible papers are:</span><span style="color: black; font-family: "Calibri",sans-serif;"><o:p></o:p></span></span></span></span><br />
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</span>
<li class="MsoNormal" style="color: black; margin: 0cm 0cm 0pt; mso-list: l0 level1 lfo1; tab-stops: list 36.0pt;"><span style="color: white;"><span style="background-color: black;"><span lang="EN-US" style="font-family: "Bookman Old Style",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman";">The importance of systems theory today (e.g.
considerations of tourism as a multi-system; tourism and complexity
theory)</span><span lang="EN-US" style="font-family: "Bookman Old Style",serif; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman";"> </span><span style="font-family: "Bookman Old Style",serif; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></span></span></li>
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<li class="MsoNormal" style="color: black; margin: 0cm 0cm 0pt; mso-list: l0 level1 lfo1; tab-stops: list 36.0pt;"><span style="color: white;"><span style="background-color: black;"><span lang="EN-US" style="font-family: "Bookman Old Style",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman";">New forms and styles of criticality in tourism
analysis</span><span lang="EN-US" style="font-family: "Bookman Old Style",serif; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman";"> </span><span style="font-family: "Bookman Old Style",serif; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></span></span></li>
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<li class="MsoNormal" style="color: black; margin: 0cm 0cm 0pt; mso-list: l0 level1 lfo1; tab-stops: list 36.0pt;"><span style="color: white;"><span style="background-color: black;"><span lang="EN-US" style="font-family: "Bookman Old Style",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman";">Implementations of critical thinking in
contemporary socio-cultural contexts of tourism (e.g. disaster zones,
military tourism, dark and slum tourism or Brexit) </span><span style="font-family: "Bookman Old Style",serif; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></span></span></li>
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</span>
<li class="MsoNormal" style="color: black; margin: 0cm 0cm 0pt; mso-list: l0 level1 lfo1; tab-stops: list 36.0pt;"><span style="color: white;"><span style="background-color: black;"><span lang="EN-US" style="font-family: "Bookman Old Style",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman";">Critical tourism studies and modes of host, guest
or industrial agency</span><span lang="EN-US" style="font-family: "Bookman Old Style",serif; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman";"> </span><span style="font-family: "Bookman Old Style",serif; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></span></span></li>
<span style="background-color: black; color: white; font-family: Times New Roman;">
</span>
<li class="MsoNormal" style="color: black; margin: 0cm 0cm 0pt; mso-list: l0 level1 lfo1; tab-stops: list 36.0pt;"><span style="color: white;"><span style="background-color: black;"><span lang="EN-US" style="font-family: "Bookman Old Style",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman";">New critiques of traditional critical theory in
the field (e.g. problematic prioritizations of the economic or the
political over the cultural or aesthetic as a critical mode)</span><span lang="EN-US" style="font-family: "Bookman Old Style",serif; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman";"> </span><span style="font-family: "Bookman Old Style",serif; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></span></span></li>
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</span>
<li class="MsoNormal" style="color: black; margin: 0cm 0cm 0pt; mso-list: l0 level1 lfo1; tab-stops: list 36.0pt;"><span style="color: white;"><span style="background-color: black;"><span lang="EN-US" style="font-family: "Bookman Old Style",serif; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman";">Critical thinking and (re)definitions of
‘tourism’ and the ‘tourist’</span><span lang="EN-US" style="font-family: "Bookman Old Style",serif; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman";"> </span><span style="font-family: "Bookman Old Style",serif; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></span></span></li>
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<span style="color: #f3f3f3;"><span style="background-color: black; color: white; font-family: Times New Roman;"></span> </span></div>
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<span style="color: #f3f3f3;"><span style="font-family: Times New Roman;"><span style="color: white;"><span style="background-color: black;">
<span style="color: black; font-family: "Bookman Old Style",serif; mso-bidi-font-family: Calibri;"><span style="background-color: white;">Submissions: Abstracts of 300 words which contribute to
knowledge about the role of critical thinking in tourism contexts should be
submitted by email to <b style="mso-bidi-font-weight: normal;">both</b> <b style="mso-bidi-font-weight: normal;"><u><a href="https://www.blogger.com/null" id="LPlnk837863" previewremoved="true">r.tzanelli@leeds.ac.uk</a></u> and <u><a href="https://www.blogger.com/null" id="LPlnk867521" previewremoved="true">mkorst@palermo.edu</a></u>
</b>by no later than <b style="mso-bidi-font-weight: normal;">15 February 2019</b>.</span>
</span><b style="mso-bidi-font-weight: normal;"><span style="color: red; font-family: "Bookman Old Style",serif; mso-bidi-font-family: Calibri;">Please email us your abstracts under
the title ‘RC50/ISA CfP Abstract Submission’</span></b><span style="color: black; font-family: "Bookman Old Style",serif; mso-bidi-font-family: Calibri;">.</span><span style="color: black; font-family: "Calibri",sans-serif;"><o:p></o:p></span></span></span></span></span></div>
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<span style="color: #f3f3f3;"><span style="color: black; font-family: "Bookman Old Style",serif; mso-bidi-font-family: Calibri;"><span style="background-color: black; color: white;">The abstracts will enter a peer review process, from which
only successful applicants will be invited to submit full manuscripts. The
deadline for submission of first drafts of manuscripts is <b style="mso-bidi-font-weight: normal;">15 March 2019</b>. Deadline for receipt of first drafts of manuscripts
is <b style="mso-bidi-font-weight: normal;">1 July 2019</b>. Accepted papers <b style="mso-bidi-font-weight: normal;">will normally be limited to 7000 words, max</b>.</span></span><span style="color: black; font-family: "Calibri",sans-serif;"><o:p></o:p></span></span><br />
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Rodanthi S Tzanellihttp://www.blogger.com/profile/13598296362787216906noreply@blogger.com0tag:blogger.com,1999:blog-7620709905606974359.post-5785115319897180942018-12-02T06:57:00.003-08:002018-12-02T07:03:51.444-08:00NEW MONOGRAPH: Cinematic Tourist Mobilities and the Plight of Development: On Atmospheres, Affects, and Environments<div class="separator" style="clear: both; text-align: center;">
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<b style="background-attachment: scroll; background-image: none; background-repeat: repeat; background-size: auto; border: 0px rgb(34, 34, 34); font-family: "arial","helvetica",sans-serif; font-style: normal; font-variant: normal; font-weight: 700; letter-spacing: normal; line-height: 19.99px; outline: transparent 0px; overflow: visible; width: auto;"><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="background-color: black; color: #eeeeee; font-family: "calibri"; font-size: large;">Cinematic Tourist Mobilities and the Plight of Development: On
Atmospheres, Affects, and Environments</span></span></b></div>
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<span style="background-attachment: scroll; background-image: none; background-repeat: repeat; background-size: auto; border: 0px rgb(34 , 34 , 34); font-family: "calibri"; font-size: 13.33px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 19.99px; outline: transparent 0px; overflow: visible; width: auto;"><span style="background-attachment: scroll; background-image: none; background-repeat: repeat; background-size: auto; border: 0px rgb(34 , 34 , 34); font-family: "calibri"; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 24px; outline: transparent 0px; overflow: visible; width: auto;"><span style="font-size: large;"><span style="background-color: black;"><span style="color: #eeeeee;"><span style="background-attachment: scroll; background-image: none; background-repeat: repeat; background-size: auto; border: 0px rgb(0 , 0 , 0); font-family: "calibri"; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 24px; outline: transparent 0px; overflow: visible; width: auto;">By </span><a href="https://www.routledge.com/products/search?author=Rodanthi%20Tzanelli" style="color: #1155cc;" title="search for all books by Rodanthi Tzanelli"><b style="color: #1155cc;"><span style="color: #0563c1;">Rodanthi Tzanelli</span></b></a></span></span></span></span></span></div>
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<span style="font-size: large;"><span style="background-color: black;"><span style="color: #eeeeee;"><span style="background-attachment: scroll; background-image: none; background-repeat: repeat; background-size: auto; border: 0px rgb(34 , 34 , 34); font-family: "calibri"; font-size: 13.33px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 19.99px; outline: transparent 0px; overflow: visible; width: auto;"><span style="background-attachment: scroll; background-image: none; background-repeat: repeat; background-size: auto; border: 0px rgb(34 , 34 , 34); font-family: "calibri"; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 24px; outline: transparent 0px; overflow: visible; width: auto;"><span style="background-attachment: scroll; background-image: none; background-repeat: repeat; background-size: auto; border: 0px rgb(0 , 0 , 0); font-family: "calibri"; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 24px; outline: transparent 0px; overflow: visible; width: auto;">Routledge <span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"> </span>URL: </span><a href="https://www.routledge.com/Cinematic-Tourist-Mobilities-and-the-Plight-of-Development-On-Atmospheres/Tzanelli/p/book/9781138388673" style="color: #1155cc;"><span style="color: #0563c1;">https://www.routledge.com/Cinematic-Tourist-Mobilities-and-the-Plight-of-Development-On-Atmospheres/Tzanelli/p/book/9781138388673</span></a></span></span><span style="background-attachment: scroll; background-image: none; background-repeat: repeat; background-size: auto; border: 0px rgb(34 , 34 , 34); font-family: "calibri"; font-size: 13.33px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 19.99px; outline: transparent 0px; overflow: visible; width: auto;"><span style="background-attachment: scroll; background-image: none; background-repeat: repeat; background-size: auto; border: 0px rgb(0 , 0 , 0); font-family: "calibri"; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 24px; outline: transparent 0px; overflow: visible; width: auto;"> </span></span></span></span></span></div>
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<span style="background-attachment: scroll; background-image: none; background-position: 0% 0%; background-repeat: repeat; background-size: auto; border: 0px rgb(0 , 0 , 0); font-family: "calibri"; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: 24px; outline: transparent 0px; overflow: visible; width: auto;"><b><span style="font-size: large;"></span><span style="background-color: black;"></span><span style="color: #eeeeee;"></span><br /></b></span></div>
<div style="font-family: "arial","helvetica",sans-serif; font-style: normal; font-variant: normal; letter-spacing: normal; margin: 0px 0px 10.66px; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background: rgb(0 , 0 , 0); border: 0px rgb(0 , 0 , 0); color: #eeeeee; font-family: "calibri"; font-size: large; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: 24px; outline: transparent 0px; overflow: visible; width: auto;"><b>Description</b></span></div>
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<span style="display: inline; float: none; font-family: "arial" , "helvetica" , sans-serif; font-size: 13.33px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 19.99px; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
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<div style="font-family: "arial","helvetica",sans-serif; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; margin: 0px 0px 10.66px; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-attachment: scroll; background-color: black; background-image: none; background-repeat: repeat; background-size: auto; border: 0px rgb(0 , 0 , 0); color: #eeeeee; font-family: "calibri"; font-size: large; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 24px; outline: transparent 0px; overflow: visible; width: auto;">It is said that movies have encroached upon social realities
creating tourism enclaves based on distortions of history and heritage, or
simulations that disregard both. What localities and nation-states value are
discarded, suppressed, or modified beyond recognition in neoliberal markets;
thus flattening out human experience, destroying natural habitats in the name
of development, and putting the future of whole ecosystems at risk.</span></div>
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<div style="font-family: "arial","helvetica",sans-serif; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; margin: 0px 0px 10.66px; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-attachment: scroll; background-color: black; background-image: none; background-repeat: repeat; background-size: auto; border: 0px rgb(0 , 0 , 0); color: #eeeeee; font-family: "calibri"; font-size: large; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 24px; outline: transparent 0px; overflow: visible; width: auto;">Without disregarding such developmental risks <i style="background-attachment: scroll; background-image: none; background-repeat: repeat; background-size: auto; border: 0px rgb(0, 0, 0); font-family: "calibri"; font-style: italic; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 24px; outline: transparent 0px; overflow: visible; width: auto;">Cinematic
Tourist Mobilities and the Plight of Development </i>explores how, en route to
any beneficial or eco-destructive development, film tourist industries
co-produce atmospheres of place and culture with tourists/film fans, local
activists, and nation-states. Drawing on international examples of
cinematically-induced tourism and tourismophobic activism, Tzanelli
demonstrates how the allegedly unilateral industry-driven ‘design’ of location
stands at a crossroads between political structures, systems of capitalist
development, and resurgent localised agency.</span></div>
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<div style="font-family: "arial","helvetica",sans-serif; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; margin: 0px 0px 10.66px; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-attachment: scroll; background-color: black; background-image: none; background-repeat: repeat; background-size: auto; border: 0px rgb(0 , 0 , 0); color: #eeeeee; font-family: "calibri"; font-size: large; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 24px; outline: transparent 0px; overflow: visible; width: auto;">With an interdisciplinary methodological and epistemological
portfolio connected to the new mobilities paradigm, this volume will appeal to
scholars, students, and practitioners interested in tourism, migration, and
urban studies in sociology, anthropology, geography, and international
relations.</span></div>
<span style="background-attachment: scroll; background-image: none; background-repeat: repeat; background-size: auto; border: 0px rgb(0 , 0 , 0); font-family: "calibri"; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 24px; outline: transparent 0px; overflow: visible; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; width: auto; word-spacing: 0px;"></span><br />
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Table of Contents</span></div>
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<span style="background-attachment: scroll; background-image: none; background-repeat: repeat; background-size: auto; border: 0px rgb(0 , 0 , 0); font-family: "calibri"; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 24px; outline: transparent 0px; overflow: visible; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; width: auto; word-spacing: 0px;"><strong style="background-attachment: scroll; background-image: none; background-repeat: repeat; background-size: auto; box-sizing: border-box; font-weight: 700; text-shadow: none;"><span style="background-color: black; color: #eeeeee; font-size: large;">Chapter 1_Introduction</span></strong></span></div>
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<strong style="background-attachment: scroll; background-image: none; background-repeat: repeat; background-size: auto; box-sizing: border-box; font-weight: 700; text-shadow: none;"><span style="background-color: black; color: #eeeeee; font-size: large;">Chapter 2_On touring the world: an epistemontological frame</span></strong></div>
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<em style="background-attachment: scroll; background-image: none; background-repeat: repeat; background-size: auto; box-sizing: border-box; text-shadow: none;"><span style="background-color: black; color: #eeeeee; font-size: large;">Phantasmagoric palimpsests: twenty-first-century cinematic tourist atmospheres</span></em></div>
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<em style="background-attachment: scroll; background-image: none; background-repeat: repeat; background-size: auto; box-sizing: border-box; text-shadow: none;"><span style="background-color: black; color: #eeeeee; font-size: large;">Cities and countrysides: toward a new cinematic tourist mobilities paradigm</span></em></div>
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<span style="font-size: large;"><span style="background-color: black;"><span style="color: #eeeeee;"><em style="background-attachment: scroll; background-image: none; background-repeat: repeat; background-size: auto; box-sizing: border-box; text-shadow: none;">Western/European practice on the bar? Heritage and the holistic plea for life</em> </span></span></span></div>
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<strong style="background-attachment: scroll; background-image: none; background-repeat: repeat; background-size: auto; box-sizing: border-box; font-weight: 700; text-shadow: none;"><span style="background-color: black; color: #eeeeee; font-size: large;">Chapter 3_Attuning and aligning: synaesthesia and the making of worlds</span></strong></div>
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<span style="font-size: large;"><span style="background-color: black;"><span style="color: #eeeeee;"><em style="background-attachment: scroll; background-image: none; background-repeat: repeat; background-size: auto; box-sizing: border-box; text-shadow: none;">An </em>eco<em style="background-attachment: scroll; background-image: none; background-repeat: repeat; background-size: auto; box-sizing: border-box; text-shadow: none;">aesthetics of worldmaking in cinematic pilgrimage</em></span></span></span></div>
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<em style="background-attachment: scroll; background-image: none; background-repeat: repeat; background-size: auto; box-sizing: border-box; text-shadow: none;"><span style="background-color: black; color: #eeeeee; font-size: large;">A primer in epistemontological investigation</span></em></div>
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<strong style="background-attachment: scroll; background-image: none; background-repeat: repeat; background-size: auto; box-sizing: border-box; font-weight: 700; text-shadow: none;"><span style="background-color: black; color: #eeeeee; font-size: large;">Chapter 4_Mobile design: a purposeful pilgrimage into cinematic tourist sites</span></strong></div>
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<em style="background-attachment: scroll; background-image: none; background-repeat: repeat; background-size: auto; box-sizing: border-box; text-shadow: none;"><span style="background-color: black; color: #eeeeee; font-size: large;">Carving mobilities: a preliminary statement</span></em></div>
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<span style="font-size: large;"><span style="background-color: black;"><span style="color: #eeeeee;"><em style="background-attachment: scroll; background-image: none; background-repeat: repeat; background-size: auto; box-sizing: border-box; text-shadow: none;">Poly-graphic design: a selection of case studies</em> </span></span></span></div>
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<em style="background-attachment: scroll; background-image: none; background-repeat: repeat; background-size: auto; box-sizing: border-box; text-shadow: none;"><span style="background-color: black; color: #eeeeee; font-size: large;">The island of order(-ing): freedoms and burdens in Orientalisation</span></em></div>
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<strong style="background-attachment: scroll; background-image: none; background-repeat: repeat; background-size: auto; box-sizing: border-box; font-weight: 700; text-shadow: none;"><span style="background-color: black; color: #eeeeee; font-size: large;">Chapter 5_The ‘hubris of the zero point’: three responses</span></strong></div>
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<em style="background-attachment: scroll; background-image: none; background-repeat: repeat; background-size: auto; box-sizing: border-box; text-shadow: none;"><span style="background-color: black; color: #eeeeee; font-size: large;">Towards a choreutics of ecosocial action</span></em></div>
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<em style="background-attachment: scroll; background-image: none; background-repeat: repeat; background-size: auto; box-sizing: border-box; text-shadow: none;"><span style="background-color: black; color: #eeeeee; font-size: large;">Epistemic misalignment</span></em></div>
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<em style="background-attachment: scroll; background-image: none; background-repeat: repeat; background-size: auto; box-sizing: border-box; text-shadow: none;"><span style="background-color: black; color: #eeeeee; font-size: large;">Hostipitality</span></em></div>
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<em style="background-attachment: scroll; background-image: none; background-repeat: repeat; background-size: auto; box-sizing: border-box; text-shadow: none;"><span style="background-color: black; color: #eeeeee; font-size: large;">Postindustrial disobedience</span></em></div>
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<span style="font-size: large;"><span style="background-color: black;"><span style="color: #eeeeee;"><em style="background-attachment: scroll; background-image: none; background-repeat: repeat; background-size: auto; box-sizing: border-box; text-shadow: none;">Islands of disorder and </em>choreosophies <em style="background-attachment: scroll; background-image: none; background-repeat: repeat; background-size: auto; box-sizing: border-box; text-shadow: none;">of </em>potentia</span></span></span></div>
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<strong style="background-attachment: scroll; background-image: none; background-repeat: repeat; background-size: auto; box-sizing: border-box; font-weight: 700; text-shadow: none;"><span style="background-color: black; color: #eeeeee; font-size: large;">Chapter 6_Crafting the impossible, meddling with the anthropocenic puzzle</span></strong></div>
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<em style="background-attachment: scroll; background-image: none; background-repeat: repeat; background-size: auto; box-sizing: border-box; text-shadow: none;"><span style="background-color: black; color: #eeeeee; font-size: large;">Classroom experiments, lessons learned</span></em></div>
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<em style="background-attachment: scroll; background-image: none; background-repeat: repeat; background-size: auto; box-sizing: border-box; text-shadow: none;"><span style="background-color: black; color: #eeeeee; font-size: large;">Windows of darkness: degrowing and enfolding</span></em></div>
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<em style="background-attachment: scroll; background-image: none; background-repeat: repeat; background-size: auto; box-sizing: border-box; text-shadow: none;"><span style="background-color: black; color: #eeeeee; font-size: large;">Windows of hope: from heritage to identity reinterpretation</span></em></div>
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Reviews</span></h3>
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<span style="background-color: black; color: #eeeeee; font-size: large;">Over recent decades, many commentators on tourism and travel have condemned the managerialist narrownesses by which the twin fields are being almost exclusively taught and researched. In producing this book on 'Cinematics', the cultural sociologist Rodanthi Tzanelli seeks to correct for this large shortfall of schooling and awareness by producing a rich and deep inspection of the political ecology of tourism as she examines the ways in which 'the unchecked neoliberalism' of organised industrial development readily rubs up against 'native knowledges' / 'local aesthetics'. Thus, in this study, tourism is critically inspected by Tzanelli as a professional sphere of privatopias (i.e., as forms of worldmaking monoculture) which readily unsettles alternative communal / interest-group outlooks. She illustrates (via a broad mix of scenarios from across the world) how the governing systems and the inscriptive processes of tourism are so often limited in their imaginative capacity to detect (or even care about?) other vistas of inheritance or other voices of being and becoming.</span></div>
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<strong style="background-attachment: scroll; background-image: none; background-repeat: repeat; background-size: auto; box-sizing: border-box; font-weight: 700; text-shadow: none;"><span style="background-color: black; color: #eeeeee; font-size: large;">—Professor Keith Hollinshead, Independent Scholar: England and Australia (Public Culture, Public Heritage, Public Nature)</span></strong></div>
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<span style="background-color: black; color: #eeeeee; font-size: large;">A fascinating exploration of the complex processes involved in the global expansion of cinematic tourism, which challenges simplistic interpretations through its versatile handling of concepts and its analysis of complex relations, contradictions and dilemmas involving humans and non-humans. </span></div>
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<span style="font-size: large;"><span style="background-color: black;"><span style="color: #eeeeee;"><em style="background-attachment: scroll; background-image: none; background-repeat: repeat; background-size: auto; box-sizing: border-box; text-shadow: none;">Cinematic Tourist Mobilities and the Plight of Development</em> is an exciting and much-needed addition to the literature on media tourism and the field of (heritage) tourism studies more generally. Twelve years after the publication of <i style="background-attachment: scroll; background-image: none; background-repeat: repeat; background-size: auto; box-sizing: border-box; text-shadow: none;">The Cinematic Tourist</i>, Tzanelli’s 'sequel' offers another adventurous exploration into the phenomenon of media tourism (or rather, as Tzanelli prefers, contents tourism), this time using case studies of cinematic tourist development to discuss the critical challenges and conflicting interests of contemporary global tourism. Along the way, Tzanelli also reflects on an impressive and original range of (new) theories and (native) approaches to deal with the complex political ecologies of developing filmed locations into touristified spaces.</span></span></span></div>
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<span style="background-color: black; color: #eeeeee; font-size: large;">Confronted with over-tourism, increasingly designed environments as well as the spread of local and activist responses to the global mobility systems affording these, Tzanelli provides a staggering assemblage of eastern and western ideas as part of a truly cosmopolitan analysis, critique and call for action. A must-read for all critical students of mobility, tourism and urban/spatial transformations.</span></div>
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Rodanthi S Tzanellihttp://www.blogger.com/profile/13598296362787216906noreply@blogger.com0tag:blogger.com,1999:blog-7620709905606974359.post-7380657727972490182018-07-09T04:09:00.000-07:002018-08-05T07:54:20.445-07:00Plenary Presentation, ITAM 2018, University of Liverpool, 5 July 2018<br />
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<a href="https://www.liverpool.ac.uk/communication-and-media/itam2018/"><span style="font-size: large;">The Eighth International Tourism and Media (ITAM) Conference5-7th July, 2018 Liverpool, UK</span></a></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; margin: 0px;"><i><span style="font-size: large;">Presentation: <span lang="EN-US" style="font-family: "times new roman" , serif; margin: 0px;">The Production of Location: Imagineering Atmospheres</span></span></i></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; margin: 0px;"><span style="font-size: large;">PPT on SlideShare <b><u><a href="https://www.slideshare.net/tornadora13/plenarythe-eighth-international-tourism-and-media-itam-conference-57th-july-2018-liverpool-uk">HERE</a></u></b></span></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; margin: 0px;"><span style="font-size: large;">The eighth ITAM conference
aim is to continue the network’s exploration of new ideas and debates sprung
from the intersection between tourism industries and practices and those that
broadly relate to the fields of media and communication. In this vein, the
conference will aim to provide a forum where, taking their lead from Rodanthi Tzanelli’s
concept of ‘global sign industries’ (2007) interdisciplinary research
conversations gather pace around what are increasingly convergent fields of
study and practice. While trends in scholarship on tourism and media are often
reflective of discreet disciplinary dispositions, particularly those linked to
perspectives in marketing and business, the necessarily open and
‘undisciplined’ terrain that defines the critical landscapes of the
relationship between various forms of media and tourism today demands a
similarly open and undisciplined approach to keep pace with what is an
ever-shifting and multi-stranded field of study.</span></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; margin: 0px;"><span style="font-size: large;">The overarching theme of
this conference is the <i style="mso-bidi-font-style: normal;">production of
location</i> and we invite contributions that critically addresses questions of
cultural brokerage in media tourism whilst continuing to warmly welcome
submissions from the inter- and cross-disciplinary traffic that informs the
research on media and tourism and addresses a range of topics pertinent to both
areas.<span style="margin: 0px;"> </span></span></span></div>
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<span style="background-color: yellow; font-size: large;"><b>Rodanthi's presentation connects to her forthcoming monograph:</b></span></div>
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<span style="background-color: yellow; color: white; font-size: large;"><b><i><a href="https://www.routledge.com/Cinematic-Tourist-Mobilities-and-the-Plight-of-Development-On-Atmospheres/Tzanelli/p/book/9781138388673">Cinematic Tourist Mobilities and the Plight of Development: On Atmospheres, Affects and Environments</a></i></b></span></div>
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<span style="font-size: large;">It is said that movies have encroached upon social realities, creating tourism enclaves based on distortions of history and heritage, or simulations that disregard both. What localities and nation-states value is discarded, suppressed or modified beyond recognition in these neoliberal markets, flattening out human experience, destroying natural habitats in the name of development, and putting the future of whole ecosystems at risk. Without discarding such developmental risks, Tzanelli stresses that en route to any beneficial or eco-destructive development, film tourist industries co-produce atmospheres of place and culture with tourist/film fans, local activists and nation-states. This perspectival shift from vague takes on neoliberal expansion/destruction to relational production of popular culture, heritage and identity first occurs in non-representational regimes of affect and emotion. Indeed, the affective potential of post-industrial atmospheres of cinematically-inspired tourism informs both creative labour in tourism and locally-driven cultures of protest against overtourism and environmental destruction. As a result, the allegedly unilateral industry-driven ‘design’ of location stands at a crossroads between political structures, systems of capitalist development and resurgent localised agency. </span></div>
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Rodanthi S Tzanellihttp://www.blogger.com/profile/13598296362787216906noreply@blogger.com0tag:blogger.com,1999:blog-7620709905606974359.post-48408520256720130762017-11-06T00:37:00.001-08:002017-11-06T00:37:55.466-08:00From necrotopias to thalasso(to)pias: designing spatial (dis)continuities in Calatrava’s Museum of Tomorrow<div style="text-align: center;">
<span style="font-family: Georgia, Times New Roman, serif;">Conference Presentation</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><a href="http://wp.lancs.ac.uk/t2mc2c/">MOBILE UTOPIA: PASTS, PRESENTS, FUTURES</a></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">2-5 Nov 2017, Lancaster</span></div>
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<b><span style="font-family: "Times New Roman",serif; font-size: 14.0pt;">From <i>necrotopias</i> to <i>thalassopias</i>: designing spatial (dis)continuities in Calatrava’s
Museum of Tomorrow<o:p></o:p></span></b></div>
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<span style="font-family: Times New Roman, serif;"><span style="font-size: 18.6667px;"><b>TO ACCESS THE PRESENTATION <a href="https://www.slideshare.net/secret/g68YjHaHYL3c6d">CLICK HERE</a></b></span></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">The
Museum of Tomorrow is a neo-futurist architectural creation and an
educational-touristic landmark erected in an abandoned and crime-infested port
(<i>Porto Maravilha</i>) of Rio de Janeiro
before Rio 2016. Situated in a heritage site that brings together the city’s
past and future legacies, it was intended as a problematisation of humanity’s
survival in the context of climate change and unrestrained capitalist
development. Its principal conception by Spanish architect Santiago Calatrava,
and completion with audio-visual installations by an international artistic
contingent, including American artists and Brazilian filmmaker and ceremonial
director Fernando Meirelles, showcase the complexities of global imaginaries of
mobility. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">As a
multi-scalar initiative featuring local, state and international partners, the
Museum showcases the ways concerns over ecosystemic erosion are addressed in
performative/artistic ways. I argue that its artistic/architectural creators
call into being a dual utopic method: as an artistic practice and a form of
recreation of life from death. First, I speculate how, by enrooting the Museum
in Rio’s built maritime environment, local heritage conservation and
spatialized social inequalities, they enact a ‘choreotopographic tour’, a
ritualistic journey through cultural sites for global visitors. Second, I
examine how its installations produce dark travel through the mobilisation of
technology: a haphazard esoteric audio-visual journey that concludes with a
potential return to humanity’s roots, Nature. Combining embodied (walking
around the Museum’s heritage environs) and cognitive mobilities (speculating humanity/earth’s
end and potential ‘beginnings’ in the Museum’s interior, through its
audio-visual installations/artefacts), the Museum produces utopian
meta-movement. With industrial modernism as its core, this meta-movement compels
visitors to oscillate physically, emotionally and cognitively between <i>necrotopic</i> scenarios (environmental
erosion, slum pollution, Brazil’s submerged slave heritage) and <i>thalasso(to)pic</i><a href="file:///C:/Users/Rodanthi/Documents/Talkandabstracts/TALKS/Mobile%20Utopias/From%20necrotopias%20to%20thalassopias.docx#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt; line-height: 107%;">[1]</span></span><!--[endif]--></span></a> fluidity (tourism, the
possibility to attain good life, hope).<o:p></o:p></span></div>
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<a href="file:///C:/Users/Rodanthi/Documents/Talkandabstracts/TALKS/Mobile%20Utopias/From%20necrotopias%20to%20thalassopias.docx#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 107%;">[1]</span></span><!--[endif]--></span></span></a><span style="font-family: "Times New Roman",serif;"> From Greek <i>thalassa</i>=sea and <i>topos</i>=place
rooted in heritage.<o:p></o:p></span></div>
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Rodanthi S Tzanellihttp://www.blogger.com/profile/13598296362787216906noreply@blogger.com0tag:blogger.com,1999:blog-7620709905606974359.post-67980596154220441672017-10-09T06:58:00.001-07:002017-10-09T07:01:42.378-07:00New Monograph: Mega-Events as Economies of the Imagination<div class="col-sm-8 col-md-5" id="productDetailsImg" style="background-color: white; box-sizing: border-box; color: #333333; float: left; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 15px; min-height: 1px; padding-left: 15px; padding-right: 15px; position: relative; width: 487.5px;">
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<span style="color: #10147e; font-family: "helvetica" , sans-serif; font-size: 25.5pt;">Mega-Events as Economies of the Imagination<o:p></o:p></span></div>
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<span style="color: #999999; font-family: "helvetica" , sans-serif; font-size: 14.5pt;">Creating
Atmospheres for Rio 2016 and Tokyo 2020<o:p></o:p></span></div>
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<span style="color: #999999; font-family: "helvetica" , sans-serif; font-size: 14.5pt;">By <a href="https://www.routledge.com/products/search?author=Rodanthi%20Tzanelli" title="search for all books by Rodanthi Tzanelli"><b><span style="color: #333333; text-decoration-line: none;">Rodanthi Tzanelli</span></b></a><o:p></o:p></span></div>
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<span style="font-family: "helvetica" , sans-serif; font-size: 11.5pt;">© 2018 – Routledge<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT6mfKHqc9N_ES4F39BKAJNeSQaS9Fy08mbX4SEVJqhywLs9uV6qjPO8YlkRlbOp41DFTb6ztScRWC_SgLqqfcQyJ-a8T8-WzbONNsk_U6FraRWcGhN846qKvdvCTdN1QhFXF1DpaiEEFV/s1600/9781138300286.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="425" data-original-width="278" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT6mfKHqc9N_ES4F39BKAJNeSQaS9Fy08mbX4SEVJqhywLs9uV6qjPO8YlkRlbOp41DFTb6ztScRWC_SgLqqfcQyJ-a8T8-WzbONNsk_U6FraRWcGhN846qKvdvCTdN1QhFXF1DpaiEEFV/s320/9781138300286.jpg" width="209" /></a></div>
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Atmosphere, the elusive ambiance of a place, enables or hinders its mobility in global consumption contexts. Atmosphere connects to social imaginaries, utopian representational frames producing the culture of a city or country. But who resolves atmospheric contradictions in a place’s social and cultural rhythms, when the eyes of the world are turned on it?</div>
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<i style="box-sizing: border-box;">Mega-Events as Economies of the Imagination</i> examines ephemeral and solidified atmospheres in the Rio 2016 Olympic Games and the handover ceremony to Tokyo for the 2020 Games. Indeed, highlighting the various social and cultural implications upon these Olympic Games hosts, Tzanelli argues that the ‘Olympic City’ is produced by aesthetic "imagineers", mobile groups of architects, artists and entrepreneurs, who aesthetically ‘engineer’ native cultures as utopias. Thus, it is explored as to how Rio and Tokyo’s "imagineers" problematize notions of creativity, cosmopolitan togetherness and belonging.</div>
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<i style="box-sizing: border-box;">Mega-Events as Economies of the Imagination</i> will appeal to postgraduate students, postdoctoral researchers and professionals interested in fields such as: Globalization Studies, Mobility Theory, Cultural Sociology, International Political Economy, Conference and Event Management, Tourism Studies and Migration Studies.<br />
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<b>CONTENTS</b></div>
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Acknowledgments</div>
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CHAPTER 1 -- Staging the mega-event: Militourist imaginaries in an Olympic city</div>
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CHAPTER 2 -- Globalising utopias: Imagineering the Olympic event, making the world</div>
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CHAPTER 3 -- Tomorrow never comes: Rio’s museum of our futures</div>
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CHAPTER 4 -- Choreomobility and artistic worldmaking: Retrieving Rio’s submerged centre</div>
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CHAPTER 5 -- The Opening and Closing Ceremonies: Migration, nostalgia and the making of tourism mobilities</div>
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CHAPTER 6 -- Tokyo 2020: Urban amnesia and the techno-romantic spirit of capitalism</div>
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CHAPTER 7 -- The Handover Ceremony: Digital gift economies in a global city</div>
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CHAPTER 8 -- Conclusion: Dark journeys and hopeful futures</div>
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<b>REVIEWS</b></div>
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Once again, Rodanthi Tzanelli offers a high-quality and promising book, where she theorizes on the cultural borders of the Olympic City in the ceremonials of Rio 2016 and Tokyo 2020. With delightful prose, her development exhibits a fertile ground to understand media events as the juxtaposition of two economic forms: the artificial economy, which focuses on the doctrine of security; and the economy of imagination, more oriented to the production of architectural legacies as artificially fabricated and externally imposed.</div>
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<span style="box-sizing: border-box; font-weight: 700;">Korstanje Maximiliano</span>, University of Palermo, Argentina</div>
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This book makes a major contribution to understanding mega-events through a cultural sociological analysis. Grounded in a multi-disciplinary literature, it will appeal to readers coming from a wide range of perspectives. The central theme of <em style="box-sizing: border-box;">Mega-Events as Economies of the Imagination</em> provides an innovative and compelling lens through which to understand and explore mega-events.</div>
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<span style="box-sizing: border-box; font-weight: 700;">Paul Lynch</span>, Professor of Critical Hospitality and Tourism, The Business School, Edinburgh Napier University, UK</div>
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The planning of Olympic mega-events for Rio 2016 and Tokyo 2020 involved not just pragmatic aspects of logistics and engineering, but also what Rodanthi Tzanelli describes as imagineering. This fascinating study of global mega-events brings together recent theoretical approaches to atmospheres, aesthetics, technologies, economic development, infrastructural urbanism, hypermobility, and dark tourism to give us new insights into the staging of "mobile situations" and their symbolic "choreomobilities." It is an intriguing contribution to the literature on mobilities, global urbanism, and the performative arts.</div>
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<span style="box-sizing: border-box; font-weight: 700;">Mimi Sheller</span>, Professor of Sociology, Department of Sociology, Drexel University, USA</div>
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Rodanthi S Tzanellihttp://www.blogger.com/profile/13598296362787216906noreply@blogger.com2tag:blogger.com,1999:blog-7620709905606974359.post-17113981182720586842017-09-14T04:10:00.002-07:002017-09-14T04:11:53.187-07:00Ways of seeing: Bauman on strangerhood & the aesthetics of urban research<div align="center" class="MsoNormal" style="text-align: center;">
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<b><span style="line-height: 107%;"><span style="font-family: "georgia" , "times new roman" , serif;"><a href="https://rc21leeds2017.wordpress.com/">RC21 Leeds : September 11-13, 2017</a><o:p></o:p></span></span></b></div>
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<span style="line-height: 107%;"><span style="font-family: "georgia" , "times new roman" , serif;">Rethinking Urban Global Justice: An
international academic conference for critical urban studies<o:p></o:p></span></span></div>
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<o:p><span style="font-family: "courier new" , "courier" , monospace;"><b>Image: Rodanthi Tzanelli 2014</b></span><span style="font-family: "georgia" , "times new roman" , serif;"> </span></o:p></div>
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<span style="line-height: 107%;"><span style="font-family: "georgia" , "times new roman" , serif;">Open Session 11:15 – 12:45 /
Exhibition Hall:<o:p></o:p></span></span></div>
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<b><span style="line-height: 107%;"><span style="font-family: "georgia" , "times new roman" , serif;">Liquid Cities? Exploring
Zygmunt Bauman’s Contribution to Urban Studies.<o:p></o:p></span></span></b></div>
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<span style="line-height: 107%;"><span style="font-family: "georgia" , "times new roman" , serif;">Distinguished social theorist and
longtime Professor of Sociology at University of Leeds, Zygmunt Bauman passed
away aged 91 earlier this year. <o:p></o:p></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="line-height: 107%;">The founding director of University
of Leeds </span><a href="http://baumaninstitute.leeds.ac.uk/"><span style="line-height: 107%;">Bauman Institute</span></a><span style="line-height: 107%;">, Mark Davis leads a discussion with
colleagues (<a href="http://www.sociology.leeds.ac.uk/people/staff/favell">Adrian Favell</a>, </span><a href="http://www.sociology.leeds.ac.uk/people/staff/campbell"><span style="line-height: 107%;">Thomas Campbell</span></a><span style="line-height: 107%;">, </span><a href="http://www.ifispan.pl/members/dariusz-brzezinskiifispan-waw-pl/prace-naukowe/"><span style="line-height: 107%;">Dariusz Brzeziński</span></a><span style="line-height: 107%;"> and </span><a href="http://www.sociology.leeds.ac.uk/people/staff/tzanelli/"><span style="line-height: 107%;">Rodanthi Tzanelli</span></a><span style="line-height: 107%;">) from the </span><a href="http://www.sociology.leeds.ac.uk/"><b><span style="line-height: 107%;">School of Sociology and Social Policy</span></b></a><span style="line-height: 107%;"> about Bauman’s legacy to the field.<o:p></o:p></span></span></div>
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<span style="line-height: 107%;"><span style="font-family: "georgia" , "times new roman" , serif;">Link to presentation by Rodanthi
Tzanelli<o:p></o:p></span></span></div>
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<b><span style="line-height: 107%;"><span style="font-family: "georgia" , "times new roman" , serif;"><a href="https://www.slideshare.net/tornadora13/ways-of-seeing-bauman-on-strangerhood-the-aesthetics-of-urban-research"><span style="color: #cc0000;">Ways of seeing: Bauman on strangerhood & the aesthetics of urban research</span></a><span style="color: #262626;"><o:p></o:p></span></span></span></b></div>
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<b><span style="color: #262626; line-height: 107%;"><span style="font-family: "georgia" , "times new roman" , serif;">13 September 2017<o:p></o:p></span></span></b></div>
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<b><span style="line-height: 107%;"><span style="color: #990000; font-family: "georgia" , "times new roman" , serif;">Abstract</span></span></b></div>
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<b><span style="line-height: 107%;"><span style="font-family: "georgia" , "times new roman" , serif;">Bauman’s
legacy in urban studies has a distinctive political flair that connects to his
critique of the ways urban strangers (tourists, migrants, vagabonds and
pilgrims) become socially positioned, ‘interpellated’ or represented by various
constituencies and groups (including researchers). <o:p></o:p></span></span></b></div>
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<b><span style="line-height: 107%;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span></b></div>
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<b><span style="line-height: 107%;"><span style="font-family: "georgia" , "times new roman" , serif;">I
argue that his reference to ways of seeing as political tools does not
compromise his analysis of liquid urbanism as an aesthetic project, but works
politics and aesthetics into a distinctive proposition on the ‘right to the
city’ for all. This proposition forms (in the tradition of Simmel’s sociology),
a moral basis for which cognitive and affective ambivalences function as
epistemological tools. </span><span style="color: #262626; font-family: "century" , serif; font-size: 14pt;"><o:p></o:p></span></span></b></div>
Rodanthi S Tzanellihttp://www.blogger.com/profile/13598296362787216906noreply@blogger.com0tag:blogger.com,1999:blog-7620709905606974359.post-75653934612085358952017-07-02T07:37:00.001-07:002017-07-02T07:37:28.641-07:00Seminar Presentation, Edinburgh Napier University: The Economies of Mega-Events<div align="center" class="MsoNormal" style="text-align: center;">
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<b><span style="line-height: 107%;"><span style="color: #6fa8dc; font-size: large;">Business School,
Graiglockhart Campus<o:p></o:p></span></span></b></div>
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<b><span style="line-height: 107%;"><span style="color: #6fa8dc; font-size: large;">14 June 2017<o:p></o:p></span></span></b></div>
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<b><i><span style="color: #6fa8dc; font-size: large;">The economies of mega-events: Decolonising the Olympic norm of hospitality in social science scholarship </span></i></b></div>
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<b><span style="color: #6fa8dc; font-size: large;">Rodanthi Tzanelli, University of Leeds, UK</span></b></div>
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<b><span style="color: #6fa8dc; font-size: large;">r.tzanelli@leeds.ac.uk </span></b></div>
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<b><span style="color: red; font-size: large;"><a href="https://www.slideshare.net/tornadora13/seminar-presentation-edinburgh-napier-university-business-school-graiglockhart-campus-14-june-2017">READ PTT HERE</a></span></b></div>
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My presentation considers mega-events as capitalist ventures, promoting re-organisations of time and space in host cultures to enable them to respond to various mobilities of business, technological and infrastructural development, tourism and professional migration, and cultural representation. I specifically examine the Olympic Games as a ‘hospitality enterprise’ still connected to the Olympic values of reciprocity and fair competition. However, contra Marxist and Foucaultian scholarship in the field, I argue that we should split this enterprise into two forms of economy that organise mega-event labour to ensure the provision of hospitality: the ‘artificial economy’ looks after surveillance, security and the control of leisure in the Olympic city; the ‘economy of imagination’ looks after the mega-event as a creative venture, thus producing architectural legacies and ceremonial art to enhance and circulate (broadcast) the host’s cultural atmospheres. </div>
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The current scholarly focus on the ‘artificial economy’ as an economy of guest and heritage protection, and the progressive displacement of the ‘imaginative economy’ to the fields of tourism, popular culture, leisure studies and so forth, are normative through and through. They introduce a symbolically gendered division of labour that we also encounter in tourism and hospitality business, moralising economic flows and demoting mega-event leisure regimes (associated with the mega-event’s architectural and ceremonial art, or tourism imaginaries connected to the host’s cultural atmosphere) to superficial, ‘cosmetic’ pursuits. Such arguments reproduce old political discourses that valorise (masculinise) nationalism and feminise national culture that do (should) not belong to contemporary globalised environments of economic transaction, cross-cultural fertilisation and international policy exchange. </div>
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<b>Biographical note</b></div>
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Rodanthi Tzanelli is Associate Professor of Cultural Sociology at the University of Leeds, UK. Her research is on globalisation, cosmopolitanism and mobilities theory. Rodanthi previously held visiting fellowships at CEMORE (Lancaster University) and Oxford University. She is currently serving on the international advisory board of the Global Studies Community (University of Urbana-Champaign, USA), the Centre for the Study of Hospitality (University of Caxias do Sul, Brazil), the Ikarian Centre for Social and Political Research (Ikaria, Greece) and the EUMEDNET (Universidad de Málaga, Spain). She is also on the editorial board of international journals such as Cultural Sociology (BSA, UK), Athens Journal of Social Sciences (Greece) and Anuario de Turismo y Sociedad (Colombia). Rodanthi is author of numerous articles, book chapters and electronic essays, and 10 monographs. Her latest book, Mega-Events as Economies of the Imagination: Creating Atmospheres for Rio 2016 and Tokyo 2020 will be published with Routledge. </div>
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Rodanthi S Tzanellihttp://www.blogger.com/profile/13598296362787216906noreply@blogger.com0tag:blogger.com,1999:blog-7620709905606974359.post-87861883939248790702016-06-02T08:13:00.000-07:002016-06-02T08:13:56.723-07:00Remembering John Urry (Leeds to Lancaster)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidJ1QXn5h7iD3NFAnPnXLVhy1LX8lQMNt50AdBf0xs0Bpvmfa4NvFl6ef_m7Q4xqsWjG_RU3I2TKCCPH94cdcA06hucNjnqEJOmYZJ6nEvBkRbTNVyP4_fDycziecxqLsGjWL5pO1VbgQP/s1600/maxresdefault.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidJ1QXn5h7iD3NFAnPnXLVhy1LX8lQMNt50AdBf0xs0Bpvmfa4NvFl6ef_m7Q4xqsWjG_RU3I2TKCCPH94cdcA06hucNjnqEJOmYZJ6nEvBkRbTNVyP4_fDycziecxqLsGjWL5pO1VbgQP/s320/maxresdefault.jpg" width="320" /></a></div>
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<span style="font-size: 14pt;"><span style="color: lime; font-family: "times" , "times new roman" , serif;"><b>John Urry, 1946-2016</b></span><span style="font-family: "comic sans ms";"><o:p></o:p></span></span></div>
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<span style="font-family: "comic sans ms"; font-size: 14.0pt;">I have
devised these two presentations as a response to a call <a href="http://www.giect.ntnu.edu.tw/en/members/bio.php?PID=7">Chia-ling Lai</a>
made to former students (in the broadest and narrowest sense) of John to participate
in a collated video of recollections from encounters with this great scholar. <a href="https://www.linkedin.com/in/chia-ling-lai-b352a246">Chia-ling</a> primarily
wanted us to discuss our intellectual relationship with John – how our own
research connects to his and how we engaged with his multiple projects. I
gather that I do more than that in the longer presentation, where I say a few
things about who I thought John was as a scholar and a public intellectual as
well as a person. In the shortest presentation I specifically respond to <a href="https://www.linkedin.com/in/chia-ling-lai-b352a246">Chia-ling’s</a> invitation
to make a collective picture of John in relation to his colleagues,
interlocutors and students.<o:p></o:p></span></div>
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<span style="font-family: "comic sans ms";"><span style="font-size: 14pt;">My
experience with new media is still limited. But recording myself </span><span style="font-size: 18.6667px;">externalizing</span><span style="font-size: 14pt;"> thoughts about someone who stands as one of my significant others
(my list is growing with new living colleagues all the time), then watching the
complete narrative, I </span><span style="font-size: 18.6667px;">realized</span><span style="font-size: 14pt;"> how uncomfortable I found the process. This
becomes obvious in kinaesthetic aspects in both videos. I decided to leave them
unedited – I am unable to participate in commemorative events in person, so
this is my small, if insignificant, contribution. Some clips will appear in a relevant event in the </span></span><a href="http://www.isa-sociology.org/forum-2016/" style="font-family: 'Comic Sans MS'; font-size: 14pt;">2016 ISA Forum in Vienna</a><span style="font-family: "comic sans ms";"><span style="font-size: 14pt;">. <o:p></o:p></span></span></div>
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<span style="font-family: "comic sans ms"; font-size: 14.0pt;">Click <a href="https://youtu.be/pkcNqBfMYiM">hereto watch</a> the longer clip<o:p></o:p></span></div>
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<span style="font-family: "comic sans ms"; font-size: 14.0pt;">Click <a href="https://youtu.be/tlf8KMlS0RU">here to watch</a> the shorter clip<o:p></o:p></span></div>
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<span style="font-family: "comic sans ms"; font-size: 14.0pt;"><span style="color: lime;"><b>2 June 2016</b></span><o:p></o:p></span></div>
Rodanthi S Tzanellihttp://www.blogger.com/profile/13598296362787216906noreply@blogger.com0Leeds, West Yorkshire, UK53.8007554 -1.549077399999987453.6507279 -1.8718008999999873 53.9507829 -1.2263538999999875tag:blogger.com,1999:blog-7620709905606974359.post-82435784298514760512016-04-12T04:30:00.000-07:002016-04-12T09:43:07.089-07:00Reading from Leeds, 2016: ‘Lash, S and Urry, J. (1994) Economies of Signs & Space. London, Thousand Oaks, New Delhi: Sage’: A diary.<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6rMJvRbUuOuf9vlgSYsXTPi56QYp8RVnRQBZlPVn6kucVzHWNAyVDfyUat9ey2cwKWheykcA9LrKuvFe_ToOazDtE-L6GhvWKqEFMejXzIoJJT_ycusq4q3dr88E7mzhj0agj27ynXq5N/s1600/DREAM.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6rMJvRbUuOuf9vlgSYsXTPi56QYp8RVnRQBZlPVn6kucVzHWNAyVDfyUat9ey2cwKWheykcA9LrKuvFe_ToOazDtE-L6GhvWKqEFMejXzIoJJT_ycusq4q3dr88E7mzhj0agj27ynXq5N/s320/DREAM.jpg" width="320" /></a></div>
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<b>Image: <a href="https://www.flickr.com/photos/8770977@N04/1332945643/in/photolist-32MGir-9DksLg-5w6A8J-Cqpf2p-5kfaVP-5Hwn78-eezW7V-nDdWvb-a9oDcL-xyHJ1-6f9r94-8wB5Kj-7vxqkd-2iDYi-bmWu7P-pbwhHF-QLg4N-rm9DA2-apo5G2-iJRKqN-63s3Zh-Dga1o-pUJ8Ns-arfpRR-63jTbF-9TdGgC-rza1oA-56aRTU-75mMuv-a8sXKu-4bdJY-pjnvKX-fG9qHS-9Mo9BL-6usPcG-aiZGrP-3bBKdB-aNxjCZ-aacXVg-5vCgYm-H4miH-5RGbYu-8fbDke-dHXV8X-7NMRDD-ccdK3S-4xtrxb-gAAcc-9noUV6-4Wm8am">'Dream' by Ling</a>, 23 March 2007 (Flickr/Creative Commons)</b></div>
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<b>FROM POPULATIONS MOBILITIES READING GROUP,</b><br />
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<b>BAUMAN INSTITUTE, SCHOOL OF SOCIOLOGY & SOCIAL POLICY, </b><br />
<b>UNIVERSITY OF LEEDS</b><br />
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<b>GROUP CONVENOR <a href="http://www.sociology.leeds.ac.uk/people/staff/favell">Professor Adrian Favell</a></b><br />
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<b><span style="color: #00b050; font-family: "century" , serif;"><span style="font-size: large;">Reflexive mourning<o:p></o:p></span></span></b></div>
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<span style="font-family: "century" , serif;"><span style="font-size: large;">This post
summarises impressions from my zillionth reading of a book that has shaped the
way I approach the social world. Not having received formal sociological
education, save my undergraduate travails into anthropological theory and
subsequent personal investment during and then continuously after my PhD in
multiple the social sciences, meant that I needed a stimulus and concrete human
inspiration to proceed in uncharted territory. John Urry’s work provided this,
amongst other intellectually sophisticated voices. This time I read <i>Economies of Signs and Space </i>in three
phases/acts: first like a Lacanian dreamer, allowing my unconscious to pick what
matters most to me and kill what does not; then as a collector of impressions,
in John’s sociological fashion, to generate a meaningful repository of ideas;
and finally, like a Foucaultian archivist, who does some violence to past
realities. I hope that those who dip into this post forgive me for my custom
and the fact that Scott Lash takes a back seat in this narrative – he too is of
course very important in my current work and I know well that his contribution
to <i>Economies</i> was pivotal. I guess
this post is my own tribute to John. It produces thanatourist pilgrimage in
conjunction with a friend’s posting on Facebook of photographs from John’s
funeral and wake. I am almost sure he would have appreciated the performance.<o:p></o:p></span></span></div>
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<span style="font-family: "century" , serif;"><span style="font-size: large;"> <o:p></o:p></span></span></div>
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<span style="font-family: "century" , serif;"><span style="font-size: large;">It is
rather difficult to summarise this 326-page book. Its conceptual, analytical
and empirical span covers as diverse questions as those of (post)modern
subjectivity, contemporary class transformations, the changing structures of
capitalist accumulation, mobilities such as migration, travel, tourism and
technologies, new social movements tied to new concerns such as
environmentalism and the role of locality within global consciousness and
globalisation processes. These are only few of the themes covered in this <i>magnum opus</i>. I would argue that in John’s
case <i>Economies</i> contained the seeds
from which his 21<sup>st</sup>-century mobilities project grew and budded into
a ‘paradigm’ embracing aspects of global socio-cultural transformations, as
well epistemological frameworks connected to the development of science,
technology and complexity. Poignantly, his latest interest in futures,
concretised in the recent foundation of a centre at Lancaster University
(Social Futures), will not be developed by him. But I would say that, in some
respects, even this centre is laterally connected to the early vision of
interconnected mobilities that he proffered in <i>Economies</i> in collaboration with Scott Lash. <o:p></o:p></span></span></div>
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<b><span style="color: #00b050; font-family: "century" , serif;"><span style="font-size: large;">Reminiscing on <i>Economies’</i> archival roots<o:p></o:p></span></span></b></div>
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<span style="font-family: "century" , serif;"><span style="font-size: large;">Before presenting
some impressions from the book, a note is necessary on the conceptual
background of the project. Like most ‘grand projects’, it did not spring out of
nowhere but was connected to intensive intellectual deliberations over the
status of late 20<sup>th</sup>-century economic, socio-cultural and political
changes in the UK and globally. I guess here the dreamer meets the romantic
historian in me. But I strongly believe that place and context prove crucial
coordinates in our reading of the book – that more specifically, we should try
to understand its dominant discourses as a reaction to the impact of state and
de-centred, organisational policies on local community, peripheral and central
regions in increasingly globalised contexts. As a follow-up from <i>The End of Organised Capitalism, Economies </i>tried
to respond to critics on the authors’ typification of economic ‘branching out’
of economies by country. The call to consider ‘dis-organisation’ was not of
course to be taken literally, but this is precisely what a shallow reading of <i>The End</i> invited at the time. Gracefully,
Lash and Urry proceeded to develop their thesis further in <i>Economies</i> – but of course the book does a lot more than this, as it
provides a cultural outlook that was missing from <i>The End</i>.<o:p></o:p></span></span></div>
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<span style="font-family: "century" , serif;"><span style="font-size: large;">As a self-contained
project, <i>Economies</i> belongs to a
vision of the future in difficult times for the British North, where Lancaster
is located (in which both Lash and Urry were professionally based at the time).
To understand who the authors’ immediate interlocutors were, one may inspect
the short Preface, which is populated by a blend of people who were educated
and/or worked in Northern regions of the country and went on to become
internationally renowned scholars (such densely populated by names prefaces
would become a norm in John’s books). Several of these names belonged to a
Lancaster University sociology reading group on regionalism. One of them is
today my colleague at Leeds. Again, this is crucial for our understanding of
the overall thesis: as the authors themselves acknowledge indirectly in the
latter parts of the book (Chapter on ‘Post-industrial Spaces’), the impact of
Thatcherite policies on the North in the 1980s (largely held accountable for
the rapid de-industrialisation of the region and the rise in unemployment) was
connected at least in Lancaster (also in other parts of the North) to a political
shift to the left.<o:p></o:p></span></span></div>
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<span style="font-family: "century" , serif;"><span style="font-size: large;"> In reality, Thatcher came into focus in this
picture for Lancaster a bit later but still with a vengeance. Mostly a
pro-Conservative town, which experienced de-industrialisation from the 1960s
and an extensive service growth sector, Lancaster became pro-Labour in the
1980s and 1990s, then also Green (these days we see a shift backwards in local
elections, as if we come full circle). In the 1980s, when the regionalism group
was active (see P. Bagguley, M. Lawson, D. Shapiro, S. Walby and A. Warde
(1990) <i>Restructuring: Place, Class and
Gender. </i>London: Sage, a much-cited book in <i>Economies</i>), the ward was Labour, slowly shifting from manual
working to professional middle class and with an emerging activist ethos tied
to the role of the public intellectual. There is a Frankfurt School ‘undercurrent’
that flows in Lash and Urry’s project that never surfaces in <i>Economies</i>, but, rest assured, it is
flowing freely and generously, with all its pros and cons. This stream
intersects and hybridises with third way voices. Giddens’ critical and creative
use (‘reflexive modernisation’) in the book is not random; nor is the belief in
the emergence of aesthetically-informed social action, which also manages to
counter first generation Frankfurt School distaste for the popular aesthetic
(in cultural industries). The authors were recording what was going on around
them as much as they were reflecting on their own agential role in these new
realities. I would argue that <i>Economies’ </i>overarching
cultural and political discourse matches its authors’ already by that time
established interests: Urry’s early concern with interest groups and revolution
and later investigation into tourism-informed systems of mobility, and Lash’s
earlier industrial/organisational sociology and later more
culturally-orientated focus on social theory, modernity and the new cultural
industries. The ‘shift’ in their collaborative work from purely political to
socio-cultural processes as an economic overlay is filtered through a
distinctively Simmelian reading of Marx’s second volume of <i>Capital</i> in <i>Economies. </i>Where
Kantian aesthetics is used in conjunction with Baudelaire and Baudrillard’s
poststructuralism to criticise Giddens’ ‘cognitive’ emphasis on reflexivity, <i>Economies </i>figures the most obvious (to
me!) innovative fusion of Lash and Urry’s sociological vision. But more on this
below.<o:p></o:p></span></span></div>
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<b><span style="color: #00b050; font-family: "century" , serif;"><span style="font-size: large;">Economy, culture and the
moral sphere<o:p></o:p></span></span></b></div>
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<span style="font-family: "century" , serif;"><span style="font-size: large;">In an overwhelmingly
Marxist academia, <i>Economies’</i>
poststructuralist emphasis on cultural, rather than purely political, economy,
was not received well. These days I make the extra mile to teach my students
the difference between the two economies, stressing that the former is not
Marxist but Marxian-inspired only! <i>Economies
</i>innovates on this question but at the time many raised an eyebrow at its
authors’ ‘culturalist’ discourse (an English anti-French malaise, in my
opinion). Another thing that critics shunted aside was an emphasis on moral
economies of mobility (one of John’s colleagues, Andrew Sayer, is a world
expert on this subject). There is a number of key terms employed in the thesis,
some of which return in different parts of the book. The term ‘economies’ in
the title connects to Marxist political economy only to some extent, as the
concern with processes of signification in contemporary markets stresses the novelty
of reflexivity and hermeneutics in contemporary socio-cultural change. Also,
the term ‘space’ suggests the presence of delinking of production and
consumption from social milieus in line with Baudrillard’s dystopianism and
urban sociology’s concern with place socialities. There is, however, also a
less pessimistic note in such transformations, connected to new class
formations: interpretation by the new reflexive subjects, the authors argue, is
pivotal for social change and triggers creative innovation. There we detect the
influence of Bourdieu’s sociology of distinction, rather than of Marx’s; also,
of consumption rather than production practices. <o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "century" , serif;"><span style="font-size: large;">Note how
the book begins with an acknowledgment of Marx’s circuits of production as
central to modernity. The two-tiered capital-flows that the authors proceed to
discuss across different chapters (money, commodities, means of production and
labour power) move through space and work across different temporalities. They
clarify that they intend to concretise (in terms of context, geography and social
practice) what Marx left abstract in his work as ‘production circuits’. Lash and
Urry’s ‘circuits’ exceed those of money and embrace the human plasticity of
social reality: they become constitutive of meaning-making as a creative but
not <i>a priori</i> determined process. I
cannot forgo the feeling that Schumpeter somehow affected their elaboration on
this, but as he does not appear in the bibliography, I note this as my own
suspicion.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "century" , serif;"><span style="font-size: large;">There we
have the beginnings of the theory of mobility, which in recent years moved
through prominent critical readers of Marx – most notably, of course, Foucault
and his conception of ‘governance’. Interestingly, <i>Economies</i> says little about ‘power circuits’ in governmental terms
and even less about the biopolitical base of production, accumulation and
consumption. It does stress, however, the role of race and gender in
‘Ungovernable Spaces’ (Ch. 6), but sidelines them in favour of class, poverty
and inequality indicators in the ghetto. If space is important in the central
thesis, time is even more important for the conceptualisation of contemporary
transformations in work patterns and lifestyles. In chapters 9 and 10, which
are dedicated to the analysis of time and mobility, we find the voices of both
authors in unison, considering the temporal dimensions of technology as the
organisation of the social. Though neither Urry nor Lash would become
Foucaultians, again we see parallels with Foucault’s poststructuralist
consideration of economic-come-political structuring of institutions and
organisations. But of course <i>Economies</i>
takes a decisive turn away from all this when it pronounces a post-Fordist
separation of forms of capital as <i>objects</i>
and labour power as <i>subjects</i>. The new
<b><i>consumer
capitalism</i></b> order, the authors argue, is based on the continuous
production of signification from objects, with which subjects (who are now cast
as both producers and consumers) struggle to cope.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-size: large;"><b><span style="color: #00b050; font-family: "century" , serif;">What is ‘aesthetic’ in
aesthetic reflexivity? (Not the senses! </span></b><b><span style="color: #00b050; font-family: "wingdings"; mso-ascii-font-family: Century; mso-char-type: symbol; mso-hansi-font-family: Century; mso-symbol-font-family: Wingdings;">L</span></b><b><span style="color: #00b050; font-family: "century" , serif;">)<o:p></o:p></span></b></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "century" , serif;"><span style="font-size: large;">As soon
as we encounter Baudrillard’s dystopia, we are moved to a counter-argument and
one of the book’s core theses: if such proliferation of meaning confuses, it
also opens up possibilities for the reconstitution of community, subjectivity,
work and leisure (a point notably figuring in Urry’s reflections on digital
mobilities after 2000 and in his <i>Mobilities
</i>(Polity, 2007)). This proliferation leads to the heterogenisation of space
and contemporary life, providing the contours of a <b><i>reflexive human subjectivity</i></b>.
There is an element of Giddensianism in this argument, but the idea that
contemporary subjects reflect upon phenomena and material objects only
cognitively is replaced in <i>Economies</i>
with the progressive aestheticisation of production and consumption. Aesthetic
reflexivity entails self-interpretation, rather than self-monitoring (as is the
case with Giddens’ cognitive reflexivity), is self-hermeneutic and based on
pre-judgements in Gadamer’s tradition of hermeneutics. Thus,
‘being-in-the-world’, being a cosmopolitan in everyday life, is externalised
and shared with others through expressive practices that at least in socio-economic
terms are manifest in product design. For Lash and Urry design enables
aesthetic reflexivity both at production and consumption ends, but not in a
Thatcherite ‘entrepreneurial individualism’ in the absence of society. Here I
state what I think that the authors want to argue: <b><i>design makes social cohesion
possible</i></b> in novel forms (subculturally, ethnically, neotribally etc.)
through the pervasive and exponential<b><i> use of information and communication
structures</i></b>. I think (and this is my interpretation) that Hollinshead’s
() recent playful tribute to Urry’s contribution to the social sciences as the
‘harbinger of the death of distance’ can be connected to <i>Economies</i>’ discourse. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "century" , serif;"><span style="font-size: large;">There are
more influences the authors acknowledge in the formation of their argument –
Charles Taylor’s take on the aesthetic/allegorical sources of the modern self,
Marcel Mauss and Pierre Bourdieu’s ‘effectively pre-cognitive understandings
and classifications and the habitus’ (<i>Economies</i>,
7). But, as is the case with Bourdieu, they never resolve the conundrum
generated by their passage from the cognitive to the aesthetic: both appear to
belong to the domain of the conscious as hermeneutic products. Bourdieu never
clarified whether habitus is a fully articulated product of the conscious
layers of modernity – nor did he answer to elitist accusations concerning the
material basis of social distinction. Instead, he devised a second term, <i>hexis</i>, to address the embodied and
pre-conscious aspects of habitus. Economies does not fully resolve this gap
either: its authors speak of pre-cognition in aesthetic reflexivity. But one
wonders: how can we reflect before reflecting upon social reality? Another
problem that follows from this black spot is the role of emotion in aesthetic
reflexivity: if affect can be pre-cognitive (but largely useless at least in
production processes), then emotion (the fully articulated feeling, <i>ridden with intentionality</i>) is certainly
a crucial component in production and consumption circuits (hence in the
hermeneutics of the aesthetic). <i>Economies</i>
is full of sporadic references to affect but there is no systematic analysis of
emotion, save some specific references to Hochschild’s <i>Managed Heart</i> that do little to address the question in its
theoretical totality. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "century" , serif;"><span style="font-size: large;">In fact,
the emphasis on the significance of aesthetic reflexivity in the production of
expert systems and new knowledge economies errs on the side of the conscious,
so we are left we little to learn about the heart. I hope I am forgiven here,
as this has been part of a long-standing interest of mine, partly inspired by
this book. There is little clarification of Kantian aesthetics in <i>Economies</i>, leaving open a door to those
hostile to the book’s thesis on circuits of production-consumption that places
the visual at the top of an aesthetic hierarchy. <i>Economies’</i> Kant ought not to be read as a proponent of the sensory
aesthetic – unfortunately, the emphasis on design principles gives the
impression that Kant is misread by the authors, when this may not be the case. Interrogations
of the postmodern nature of aesthetic reflexivity by allegorical means
(allegory transcends theological moralism but remains a moral project, as
opposed to premodern symbolism, they claim) stand at the centre of the less
structured, nearly anarchist, contemporary social formations. But, again, where
is the emotional component in these new configurations? Note also, that new movements
need symbols to communicate belonging rather than fully formed allegories –
but, again, we fall back on a visual evaluation of aesthetic reflexivity. I
would argue that to understand <i>Economies’</i>
postmodern ethos, visual hierarchies should give analytical way to <i>pathial</i> ones – after <i>pathos</i> or emotion – if we are to study
for example the role of our 21<sup>st</sup>-century individual and communal
belonging.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-size: large;"><b><span style="color: #00b050; font-family: "century" , serif;">Structure (in defence of
agency </span></b><b><span style="color: #00b050; font-family: "wingdings"; mso-ascii-font-family: Century; mso-char-type: symbol; mso-hansi-font-family: Century; mso-symbol-font-family: Wingdings;">J</span></b><b><span style="color: #00b050; font-family: "century" , serif;">)<u><o:p></o:p></u></span></b></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "century" , serif;"><span style="font-size: large;">The book
is divided into four parts. Here I have to work a bit in Foucault’s style, to
guess who did what in the overall structure of the work, as well as what each
bit contributes to the overall thesis. Again, I stand corrected by those who
may have more first-hand knowledge on the book’s history. <b>Part I</b> examines theoretically the global economy of flows and the
rise of postmodern reflexivity, with chapter 3 as its best exposition of the
authors’ readings of Ulrich Beck and Anthony Giddens on expert systems and
individualisation. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-size: large;"><b><span style="font-family: "century" , serif;">Part II</span></b><span style="font-family: "century" , serif;"> looks at the structural conditions of reflexivity in chapter
4, through examples of production systems (Japanese, German and Anglo-American).
The model/thesis of <i>Economies</i> is
closely connected to the Anglo-American reflexive accumulation, which is seen
as a corollary of reflexive consumption – in contradistinction to the German
and Japanese highly modern reflexive production. Chapter 5 applies these models
to culture industries (Scott Lash’s main interest at the time) to reflect on
the ways these now function more as service industries. This observation links
to the book’s main thesis: the main aesthetically reflexive agents in
contemporary capitalist environments represent a service class that both
produces and consumes. There is a strong Americanised edge in this aspect of
the argument that I would attribute to Scott Lash. The following two chapters
(6 and 7) read closer to Urry’s classical left-wing education (though work on
industrial structuring in them is probably done by Lash), with a strong
emphasis on the losers of reflexive modernity: migrants, the underclass and
ethnic minorities. Here we see a strong emphasis on the moral economies of
mobility that classical Marxist critics of <i>Economies</i>
ignored.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "century" , serif;"><span style="font-size: large;">In <b>Part III</b> chapter 8 looks at the
intensification of design service provision in both public and private sectors
and its consequences. Chapter 9 examines changes in conceptions and organisations
of time (though, personally, I would have liked to see more clarification on
how and if the two connect). The argument is that, especially changing work and
leisure patterns led to the replacement of clock time by an increasingly
instantaneous, <i>glacial</i> or
evolutionary time, leading to reconfigurations of memory. This ‘speeding up’
argument became part of Urry’s later elaborations on mobilities. However, I do
think the chapter places unilateral emphasis on the public domain, leaving
private configurations of time and sociality largely unacknowledged. Clock time
is still very present in the private sphere, where possible, and I fear that
discarding its intimate presence may actually endorse rather unsavoury slides
to social evolutionism. Whereas <i>Economies’</i>
argument on the aesthetic maintains a distinctively neo-Romantic ethos, this
chapter re-rationalises contemporary life, bringing Giddens’ influence back
into focus. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "century" , serif;"><span style="font-size: large;">In <b>Part IV</b> Chapter 10 completes the argument
with a focus on travel and the prevalence of risk. The claim that aesthetic
modernisation is followed by a shift from ‘legislation’ to ‘interpretation’
(borrowed from Bauman’s (1987) thesis), both in expert systems and in lay
environments, is also connected to the ‘end of tourism’ and the rise in
combined mobilities. Chapter 11 deals directly with the role of localities and
regions in globalisation processes. The reflexive demand to think globally but
act locally is viewed as the core of contemporary global culture, increasingly
dictating a shift from national to cosmopolitan patterns of civic belonging.
The prevalence of informational flows and post-national networks of mobility
usher humans to postmodern domains and patterns of belonging and action. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<b><span style="color: #00b050; font-family: "century" , serif;"><span style="font-size: large;">Brighter futures in dark
times<o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "century" , serif;"><span style="font-size: large;">And there
you have it: a series of impressions on a book that was inspired by a
collection of dreamers and concretised/written by two future leaders (as both
of them would become). My personal engagement with John Urry – a sensitive,
thoughtful and rather modest person for his status – suggested that, just like
his other books, <i>Economies </i>must have
been a project that spoke first from the heart, rather than the brain, but in a
quiet tone. I am sure his globally spread students and collaborators will agree
with me in one thing: that his intellectual engagement with social phenomena
was always forward-looking, always in favour of opening closed doors and
examining possibilities. His collaboration with Scott Lash yielded great
results, as is the case when two highly creative minds meet. I hope that new
strong leaders like John will emerge in the social sciences, as kind and
creative as he was. I hope that they will also speak about John’s work in
innovative ways, critically or not, in favour of better futures.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<b><span style="color: #00b050; font-family: "century" , serif;"><span style="font-size: large;">REFERENCES<o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; text-indent: 36pt;">
<span style="font-family: "century" , serif;"><span style="font-size: large;">Bauman,
Z. (1987) <i>Legislators and Interpreters</i>.
Ithaca, NY: Cornell University Press.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; text-indent: 36pt;">
<span style="font-family: "century" , serif;"><span style="font-size: large;">Hollinshead,
K. (2016) ‘A portrait of John Urry – harbinger of the death of distance’, <i>Anatolia</i>, 27 (2): 309-316.<o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; text-indent: 36pt;">
<span style="font-family: "century" , serif;"><span style="font-size: large;">Lash,
S. and Urry, J. (1994) <i>Economies of Signs
and Space</i>. London: Sage. </span><o:p></o:p></span></div>
Rodanthi S Tzanellihttp://www.blogger.com/profile/13598296362787216906noreply@blogger.com0tag:blogger.com,1999:blog-7620709905606974359.post-77198738438513510712016-02-28T07:24:00.003-08:002016-02-28T07:24:54.878-08:00NEW BOOK ANNOUNCEMENT: Thanatourism and Cinematic Representations of Risk<div style="text-align: center;">
<span style="font-family: Georgia, Times New Roman, serif;">Thanatourism and Cinematic Representations of Risk</span></div>
<div style="text-align: center;">
<span style="font-family: Georgia, Times New Roman, serif;">Screening the End of Tourism</span></div>
<div style="text-align: center;">
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
<div style="text-align: center;">
<span style="font-family: Georgia, Times New Roman, serif;">By Rodanthi Tzanelli (University of Leeds, UK)</span></div>
<div style="text-align: center;">
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
<div style="text-align: center;">
<span style="font-family: Georgia, Times New Roman, serif;">Series: Routledge Advances in Sociology</span></div>
<div style="text-align: center;">
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
<div style="text-align: center;">
<span style="font-family: Georgia, Times New Roman, serif;">April 2016 | 240 pages | 7 B/W Illus</span></div>
<div style="text-align: center;">
<span style="font-family: Georgia, Times New Roman, serif;">Hb: 978-1-138-65264-4: £85.00 £68.00*</span></div>
<div style="text-align: center;">
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
<div style="text-align: center;">
<span style="font-family: Georgia, Times New Roman, serif;">20% Discount Available with discount code <b>FLR40</b></span></div>
<div style="text-align: center;">
<span style="font-family: Georgia, Times New Roman, serif;">Via <a href="http://www.amazon.co.uk/Thanatourism-Cinematic-Representations-Risk-Screening/dp/1138652644">Amazon </a>at £85.00</span></div>
<div style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnFLczUSahBOOCCt2j8kixtb0wUil-3TbjI7JUkLnMF_ucfxwREYw_QafxvVGfTFrmeptzsEmmT_fwshyfedVVccyjHb-CAg_1NnOc98Dx_cBXGcElafYbgRgbJNXkkr5jIKg7Qxto-aMi/s1600/41AzYEnGE4L._SX331_BO1%252C204%252C203%252C200_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnFLczUSahBOOCCt2j8kixtb0wUil-3TbjI7JUkLnMF_ucfxwREYw_QafxvVGfTFrmeptzsEmmT_fwshyfedVVccyjHb-CAg_1NnOc98Dx_cBXGcElafYbgRgbJNXkkr5jIKg7Qxto-aMi/s320/41AzYEnGE4L._SX331_BO1%252C204%252C203%252C200_.jpg" width="213" /></a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
www.routledge.com/9781138652644</div>
<div style="text-align: center;">
For more details, or to request a copy for review, please contact:</div>
<div style="text-align: center;">
Tom Eden, Marketing Assistant</div>
<div style="text-align: center;">
tom.eden@tandf.co.uk</div>
<div style="text-align: center;">
<br /></div>
<br />
<span style="font-family: Georgia, Times New Roman, serif;">In today’s world, the need to eliminate natural and human-made disasters has been at the forefront of national and international socio-political agendas. The management of risks such as terrorism, labour strikes, protests and environmental degradation has become pivotal for countries that depend on their economy’s tourist sector. Indeed, there is fear that that ‘the end of tourism’ might be nigh due to inadequate institutional foresight. Yet, in designing relevant policies to tackle this, arts such as that of filmmaking have yet to receive due consideration.</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">This book adopts an unorthodox approach to debates about ‘the end of tourism’. Through twenty-first century cinematic narratives of symbolically interconnected ‘risks’ it considers how art envisages the future of humanity’s well-being. These ‘risks’ include: migration as an infectious disease; alien incursions as racialized labour mobilities; cyborg rebellion as the fear of post-colonial otherness; and zombie anthropophagy as the replacement of rooted identities by nomadic lifestyles.</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">Such filmic scenarios articulate the futuristic survival of community as the triumph of the technological human over otherness, and provide a means to debate societal risks that weave identity politics into unequal mobilities. This book will appeal to researchers and students interested in mobilities theory, tourism and travel theory, film studies and aesthetics, globalisation studies, race, labour and migration.</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<div style="text-align: center;">
<span style="font-family: Georgia, Times New Roman, serif;"><b>ENDORSEMENT</b></span></div>
<span style="font-family: Georgia, Times New Roman, serif;">“Tzanelli’s thought-provoking new book masterfully uncovers the complexities which surround dark tourism, helpfully illuminating the deeper political reasons behind its global power to intrigue. Building upon her groundbreaking work on film tourism and pilgrimage, Tzanelli very originally considers popular movies like District 9 and 28 Days Later to provide viewers with virtual access to the possibilities which might exist for the future of humanity, through a reconsideration of its darkest pasts.”</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">– Professor David Martin-Jones, University of Glasgow</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<br />Rodanthi S Tzanellihttp://www.blogger.com/profile/13598296362787216906noreply@blogger.com0tag:blogger.com,1999:blog-7620709905606974359.post-28105072530539970062015-12-20T08:39:00.000-08:002015-12-22T03:08:51.087-08:00Of Muses and Darkness: The Poetics of Writing <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6TG2yUjGx4JXeJlXfAJr957IaAqRxBkaJJpMWvt0JyNE9HwPduQc0thEaI4IAXXeWbvpR9rWslFJYWIye4a9gDkZbFPHJfJQ0vllPNj5nLhIs5pWULpJ-4h0ESDMi6Iw_M01im6XFc0U2/s1600/4102189162_4e7f4bec8d_z.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6TG2yUjGx4JXeJlXfAJr957IaAqRxBkaJJpMWvt0JyNE9HwPduQc0thEaI4IAXXeWbvpR9rWslFJYWIye4a9gDkZbFPHJfJQ0vllPNj5nLhIs5pWULpJ-4h0ESDMi6Iw_M01im6XFc0U2/s320/4102189162_4e7f4bec8d_z.jpg" width="320" /></a></div>
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<span style="font-family: Courier New, Courier, monospace;"><b>Image: Frakieleon, '<a href="https://www.flickr.com/photos/armydre2008/4102189162/in/photolist-7fuMVm-98fPLT-fKZ8Vf-8Grigx-pFEpP2-G4P2J-8GuAqf-uvSH3B-dLsWHd-nYswJU-zZndyz-zZnH4R-aykJ8Z-6zYw6u-A1iRNx-4ke4PB-5KLW4c-4bN79f-61p99Z-ayQ8mL-z3kQBE-bRmice-35hRcW-8nLigt-6Gff9h-b3SCVk-a3XC9d-49TPki-7TbcaC-6QmQWb-5nHG7d-8S6Hyc-xwF6j-7t1waH-4EjhZ9-7cWUra-cbRPeU-5EtezA-z8sL1h-9e7HKw-7Nehy8-tZ83a-6oWse8-54ULo9-fAidEX-gnwq3r-bn6kAs-ebB4Td-4Hko1q-hLnRj3">True Colours</a>', 2009, Flickr/Creative Commons</b></span></div>
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<span style="font-family: "Constantia",serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Constantia",serif;">It
has been almost three decades since the publication of Clifford and Marcus’ <i><a href="https://lcst3789.files.wordpress.com/2012/01/clifford-writing-culture.pdf">Writing
Culture: The Poetics & Politics of Ethnography</a></i>. Yet, the volume’s statement
on interdisciplinarity as not just the act of ‘picking a theme or a subject’
but the decision of ‘creating a new object that belongs to no one’ (p. 1) still
retains its relevance across the social sciences. Although Clifford is talking
about ethnography and the ethics of partial truth excavation in scholarship, his
observations certainly apply to writing as a form of agency upon the social in broader
terms to date. His decision to expand on writing as a metaphor of ‘pilgrimage’ in
<i>Routes: Travel and Translation in the Late 20th Century</i> (1997) shifted
debates on movement in phenomenological and interactive terms. In <i>Returns:
Becoming Indigenous in the Twenty First Century</i> (2013) he also
suggested that collective and individual subjectivities are processual and
emergent; that we all are overdetermined in some respects by the presence of an
<a href="https://vimeo.com/78776772">interconnected network of cultures</a> –
so much so, that our own (auto)biographic rootings remain ever-shifting and
malleable.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Constantia",serif;">The
lengthy reference to the politics and poetics of writing makes sense in the contemporary
context of Western academia as this undergoes ideological changes due to the
invasion of unregulated market ideologies in its informal ways of ‘doing things’.
Looking past this polemics – possibly, also past any ‘<a href="http://www.theguardian.com/science/2011/sep/05/publish-perish-peer-review-science">publish
or perish</a>’ ultimatums (</span><span style="background: white; font-family: Constantia, serif;">Colquhoun</span>, 5 September 2011) <span style="font-family: "Constantia",serif;">– one discovers a world of barely visible
networks of people striving to articulate what matters to them nd not for the
sake of a Research Excellence Framework. With all the hassles of the academic
job, putting an idea into words, shaping up an argument (or more than one)
persist as values referring back to other values – amongst them the assaulted
freedom of expression. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Constantia",serif;">Writing
is a dangerous act: not only does it release feelings and notions the author
never manages to fully tame into texts – for, meaning always exceeds its
original articulation – it puts us into indirect contact with other voices. My
mental closets are full of significant others who fade or return in my desktop
every time I type up a new idea. If, as de Certeau (1986) noted, spatial
trajectories find a way to project their creators’ psychic world, then it is
true that writing will always invoke and release some form of darkness. And by ‘darkness’
I refer to the innermost recesses of our intellect and heart, not to a chiaroscuro
artistic exercise. As Neil Gaiman recently said, our stories should openly ‘[ask]
<a href="http://www.theguardian.com/books/2015/oct/25/trigger-warning-neil-gaiman-review-fairytales">whether
any fictions should in fact be “safe places”, or whether their purpose should
instead be to “hurt in ways that make [one] think and grow and change</a>”’
(Kennedy, 25 October 2015).<o:p></o:p></span></div>
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<span style="font-family: "Constantia",serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhACtwiSm1xJfD3jJfcSfYZKm28p-MUI09K8BVzLXwuzBKz65g5rMg6bido8gwu4wv7bbrnD6_oi5-Q2r_c1xk8orNsogPAP2jo5koLFVgTHNcTPnCvz9ITqzlciIKBQy7qzzCWqaSKn2u-/s1600/8599346326_62dd350570_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhACtwiSm1xJfD3jJfcSfYZKm28p-MUI09K8BVzLXwuzBKz65g5rMg6bido8gwu4wv7bbrnD6_oi5-Q2r_c1xk8orNsogPAP2jo5koLFVgTHNcTPnCvz9ITqzlciIKBQy7qzzCWqaSKn2u-/s320/8599346326_62dd350570_o.jpg" width="320" /></a></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: "Constantia",serif;"><b>A retired now colleague used to classify us into 'talkers, doers and writers'...</b></span></div>
<div class="MsoNormal" style="text-align: center;">
<b><span style="font-family: Courier New, Courier, monospace;"><a href="https://www.flickr.com/photos/aryaziai/8599346326/in/photolist-e6TU4Q-jGaLuA-de5RmJ-gq1tPX-dmPQiN-dJipqN-kSuhDB-gpZyum-n3FWhH-aARVmr-mAwobd-9v7rka-9v7uRM-kSHt5k-9vaw7s-kSHoGc-n3FPip-gpZETJ-zTJUKJ-zJHQcp-e7uHy6-s6895e-8kRAN8-ecWCov-e7AnGm-rwbo1y-xKesqK-zz76bh-nHjgEJ-rYwrnM-xcLdVb-Bb1mX4-xcLe9C-CadFr5-zDYsfW-nM9bQB-mqvAiG-nDqdoa-Bn85Yy-afq1j2-kpvEPv-fVxmpD-j5hB4v-AcHJzj-9eeetJ-aus6VA-9ebBhM-apQ1Rr-e5dAtR-9vahZs">Photo: Aria Ziai, Flickr/Creative Commons</a></span></b></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Constantia",serif;">Scholarly
writing in particular encompasses both the politics of friendship and the
poetics of love. Friendship follows a code of paradigm affiliation, which binds
scholars into the same dark space, coerces them to fumble their way around for
the right words and to provide mutual support via all sorts of direct and
indirect exchange. Here ‘exchange’ becomes interchangeable with ‘reciprocity’,
as writers are supposed to be bound by a norm of mutual acknowledgment of
sharing in intellectual projects. Where this is absent, the relationship dies
before it grows into a stable and more permanent friendship. I am constantly
engaging in such precarious exchanges, often guessing the identities of those
who proclaim solidarity, retreating in disappointment for broken links with
others, or building new unexpected connections. ‘Muses’ assume different form,
context and content in my writing ventures, often via faint and fleeting
interactions, indirect communications or textual sites I discover during
searches. In such complex and interconnected virtual and terrestrial encounters,
belonging remains emergent much like Clifford’s politics of belonging. <o:p></o:p></span></div>
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<span style="font-family: "Constantia",serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR9eqUV-ssKqpu1RC3NQvwVLWZA-NX55w-275DGZfqs5AujHTHiNDvpPTEKZSxPTtdszQ2lQQk-IA-fM41mSZh6qyWxLow_eBV1hf-HmKVSWoQJb7r72OLkTxOaFQ8hrXmz-IBjZt6vTuY/s1600/7989674100_ed16185397_m.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR9eqUV-ssKqpu1RC3NQvwVLWZA-NX55w-275DGZfqs5AujHTHiNDvpPTEKZSxPTtdszQ2lQQk-IA-fM41mSZh6qyWxLow_eBV1hf-HmKVSWoQJb7r72OLkTxOaFQ8hrXmz-IBjZt6vTuY/s1600/7989674100_ed16185397_m.jpg" /></a></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: "Constantia",serif;"><b>My sanity is dependent on my interlocutors's intellectual maturity</b></span></div>
<div class="MsoNormal" style="text-align: center;">
<b><span style="font-family: Courier New, Courier, monospace;">Image: Denise Krebbs, '<a href="https://www.flickr.com/photos/mrsdkrebs/7989674100/in/photolist-db2aKJ-bDMEYH-brNqFE-oskvbH-iLXoqB-qyDmiF-5ASv3u-5fSAHa-9cwkWF-arK7a4-4GpWXq-diWLTg-9QJ7L7-ntU6WE-apngdR-rprjj-diWJEG-5ALyLX-Bag2Z7-d556F5-rTAXj2-5A759j-rZHCdG-aPSYTz-dkf3TP-vdXfMa-6J7EYR-diWLh8-q6Evx2-ncndHB-r5UQ6x-bo3kZV-qxdHdh-cTzVeW-5AQszy-az3uJp-9vxs4a-rcDKvH-xidqST-dfivFC-pRPA5J-iXnuvp-5ASsuy-5Sgder-dXTrRG-37gs4H-9rhumM-5kjXcd-9nkneR-6L1QmF">A Writing Six-Word Story</a>', 2013, Flickr/Creative Commons</span></b></div>
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<span style="font-family: "Constantia",serif;"><br /></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Constantia",serif;">Nevertheless,
there is also another side to this shared darkness that leads one down a more
dangerous path and straight into the poetics of love. To explain, I refer again
to Clifford’s original point about interdisciplinary writing (the decision of ‘creating
a new object that belongs to no one’), which links to a direct quote from
Roland Barthes’ work. Clifford is less interested in Barthes' interdisciplinarity
however than in making a point about the interpretative nature of fieldwork in
Malinowski’s ethnographic journeys. It is this <i>bringing together</i> of Barthes with Malinowski in <i>Writing Culture’s</i> introductory chapter that
allowed Clifford to make an enduring ethical statement on authorial violence,
creative representation and partial truth-making. Would the two scholars ever
had looked eye to eye, if they had been brought together? Such synthetic
referencing always involves the effacement of one’s original inspiration, even
though the source’s acknowledgment is an act of love. Such violence might also creep up<i> aposteriori</i>, when
manuscripts have already been published –especially when stylistic similarities
or intellectual compatibilities eventually prompt new source-searching and
writing. These occurrences are not uncommon in scholarly networks and coerce authors
to readjust their cognitive panoramas, resort to accepting new significant others
into their own dark field, or even explore new collective or individual
opportunities of articulation. Ironically then, though the poetics of authorial
love are dedicated to humanising ideas, they may have to resort to some
dehumanising techniques, to objectify those we cite or acknowledge in our
writings. <o:p></o:p></span></div>
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<div class="MsoNormal">
<b><span style="font-family: Constantia, serif; font-size: 14pt; line-height: 107%;">References<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "Constantia",serif; mso-ansi-language: EN-US;">Clifford, J. & Marcus, G. (eds.) (1986) <i>Writing Culture: The Poetics and Politics of
Ethnography</i>, Berkeley and Los Angeles, California: University of California
Press.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "Constantia",serif; mso-ansi-language: EN-US;">Clifford, J. (1997) <i>Routes: Travel and Translation in the Late 20th Century</i>, Cambridge,
MA: Harvard University Press.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "Constantia",serif; mso-ansi-language: EN-US;">Clifford, J. (2013) <i>Returns: Becoming Indigenous in the Twenty First Century</i>, Cambridge,
MA: Harvard University Press.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Constantia",serif; mso-bidi-font-weight: bold;">Colquhoun, D. (5 September 2011) ‘Pressure on scientists to publish has
led to a situation where any paper, however bad, can now be printed in a
journal that claims to be peer-reviewed’, <i>The
Guardian.<o:p></o:p></i></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "Constantia",serif; mso-ansi-language: EN-US;">de Certeau, M. (1986) <i>Heterologies</i>, Manchester:
Manchester University Press.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Constantia",serif; mso-bidi-font-weight: bold;">Feminist Media Studio (2013) James Clifford discusses his new book
'Returns: Becoming Indigenous in the Twenty-First Century' with Trish Audette,
doctoral student in Communication Studies, at the Feminist Media Studio,
Concordia University, October 2013.</span><span style="font-family: "Constantia",serif;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "Constantia",serif; mso-ansi-language: EN-US;">Kennedy, L. (25 October 2015) ‘</span><span style="font-family: "Constantia",serif;">Trigger Warning by Neil Gaiman review –
nasty surprises and bold recastings’, <i>The
Observer.<o:p></o:p></i></span></div>
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Rodanthi S Tzanellihttp://www.blogger.com/profile/13598296362787216906noreply@blogger.com0tag:blogger.com,1999:blog-7620709905606974359.post-59243850899643172912015-10-08T02:42:00.000-07:002015-10-09T08:08:02.215-07:00Book Launch, 06 October 2015, Social Sciences 12.25, University of Leeds<div align="center" class="MsoNormal" style="text-align: center;">
<i><span style="color: red; font-size: 12.0pt; line-height: 107%;">Mobility,
Modernity and the Slum: The Real and Virtual Journeys of Slumdog Millionaire</span></i><span style="font-size: 12.0pt; line-height: 107%;">, Abingdon: Routledge.<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<b><span style="font-size: 12.0pt; line-height: 107%;">Book Launch, 06 October
2015, Social Sciences 12.25, University of Leeds<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPwcnOAz9YY5EP8GKEike3_0ohJfu1zGxTdPXgMSnFVdny-PGbsDWTOiW_CgEOVgqwva9j44RHoynni8vbxG9R-xsavuwQP54vijpj3QPG9_y-Tn80V2VoDl0xsiHRUUlc27eXac1RpfL3/s1600/MMS.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPwcnOAz9YY5EP8GKEike3_0ohJfu1zGxTdPXgMSnFVdny-PGbsDWTOiW_CgEOVgqwva9j44RHoynni8vbxG9R-xsavuwQP54vijpj3QPG9_y-Tn80V2VoDl0xsiHRUUlc27eXac1RpfL3/s320/MMS.jpg" width="213" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<b><span style="font-size: 12.0pt; line-height: 107%;"><br /></span></b></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="line-height: 17.12px;"><b>Routledge link <a href="https://www.routledge.com/products/9781138909359">here</a></b></span><br />
<span style="color: cyan; line-height: 17.12px;"><br /></span>
<br />
<div style="background-color: white; font-family: wf_segoe-ui_normal, 'Segoe UI', 'Segoe WP', Tahoma, Arial, sans-serif; font-size: 15px; margin: 0px; text-align: center;">
<span style="color: cyan; font-family: Calibri,sans-serif; font-size: x-small;"><span style="font-size: 11pt;"><b>£34.99 eBook available for individual purchasers, which can be ordered through VitalSource in November.</b></span></span></div>
<div style="background-color: white; font-family: wf_segoe-ui_normal, 'Segoe UI', 'Segoe WP', Tahoma, Arial, sans-serif; font-size: 15px; margin: 0px; text-align: center;">
</div>
<b><span style="color: cyan; line-height: 17.12px;"></span></b><br />
<div style="background-color: white; font-family: wf_segoe-ui_normal, 'Segoe UI', 'Segoe WP', Tahoma, Arial, sans-serif; font-size: 15px; margin: 0px; text-align: center;">
<span style="color: cyan; font-family: Calibri,sans-serif; font-size: x-small;"><span style="font-size: 11pt;"><b>There is also currently a £41.99 Kindle version on Amazon.</b></span></span></div>
</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<b><span style="font-size: 12.0pt; line-height: 107%;"><br /></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">I started writing this book as a contribution to the way
different mobilities intersect behind a movie. My focus was Danny Boyle’s
Slumdog Millionaire, a highly successful enterprise created by an international
community of artists spanning continents and cultures. The film is a
straightforward story of a youth from the slums of Mumbai, his struggle to earn
a living, self-educate, win back his childhood love and finally make it out of
poverty. Thanks to his knowledge on facts based on personal experiences of
exclusion, ethnic persecution and inequality, he wins on a quiz show and
becomes a millionaire. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">The film weaves a rich intertextual web of cinematic
narratives from different eras, thus serving as a scholarly spyglass into the
ways the city of Mumbai and India struggled through modernisation. However, as
I researched more into the film, its production, reception and reproduction in
other cultural circuits controlled by the Indian state as well as global media
and tourist networks, the film itself became more a cosmetic starting point,
albeit an important one. Note that the book’s summary stresses that the film
became tangled in many controversies around India’s destiny in the world: it inserted
Mumbai into various financial, political and artistic scenes, increased tourism
in its filmed slums, and brought about charity projects in which celebrities
and tourist businesses were involved. As such, it served as a global example of
a ‘developing country’s’ uneven but unique modernisation according to Western
standards.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">The presence of Western standards in the whole cycle of Slumdog
Millionaire’s inception, production and reception suggested that I don’t deal
just with a piece of art but with a controversial case of invisible
colonisation. That the application of Western representational methods for the
city of Mumbai and its histories of ethnic integration and conflict in its
slums presents us with an example of what decolonial theorists call ‘<a href="http://eprints.usm.my/8298/1/The_Captive_Mind_In_Development_Studies_Pt_1.pdf">the captive mind</a>’. This impossibility to narrate the past of a culture and imagine
its futures outside Western modernity and modernisation was shared to a great
extent by the makers of Slumdog Millionaire and their represented cultures, the
slumdwellers. With all their good intentions to support India’s disenfranchised
groups, the makers of SM were also trapped into their old roles as invisible
colonists. They contributed to reproductions of the captive mind, willingly as
philanthropists or volunteers and unwillingly as artmakers on whose work
tourist business capitalised to sell Indian slum tourism. As much as their
activist spirit produced a vision of Mumbai as a city of slums, a city of
ruins, a dark city, the happy ending of the film also suggested alternate
futures. But not outside capitalism and neoliberal policy-making. And not
completely outside the histories of slum tourism and its beginnings in European
industrial urbanisation, the tourist flanerie of journalists and
philanthropists in shantytowns as well as its coincidence with colonial racism
and domestic debates on welfare policies on poverty. Slumdog Millonaire’s
visions of modernity simply excluded alternative knowledge systems from
representations of Indian culture in film, e-tourism and on-site tourism in its
filmed slums.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">Was this a problem or a solution for the already excluded
slumdwellers in India? Was it that bad to have someone interested in their
fates from the West? The book does not offer straightforward answers, only
different interpretations of harm, charity and benevolence. Reminding us that
racism, exclusion and trafficking are also in the eye of the beholder, that
victims can be perpetrators of inequality; that our scholarly interpretations
contribute to the production of socio-cultural identities.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
</div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">In short then, this book is about the ways different media
regimes, including those of film and digital tourist industries shape the image
of places. As what we call ‘<a href="http://www.tandfonline.com/doi/full/10.1080/14616680903262562">worldmaking agents</a>’ the original makers of
such images do not necessarily hold control over these representations which
enter global capitalist circuits, may instigate nationalist reactions even by
the very disenfranchised they support or end up serving the political interests
suspect interest groups. As such, the book aspires to advance debates on
representations of place in the context of an all-consuming Western modernity,
which constantly excludes consideration of intersectional inequalities based on
race, gender, class and status as malleable conditions. Bringing together
state-of-the-art tourism theory, work on professional migration flows and
debates on decolonisation it suggests that mobilities continue to operate on
the logic of Western knowledge systems for better or worse. <o:p></o:p></span></div>
Rodanthi S Tzanellihttp://www.blogger.com/profile/13598296362787216906noreply@blogger.com0tag:blogger.com,1999:blog-7620709905606974359.post-92024758216572001572015-08-31T08:02:00.000-07:002015-08-31T08:02:44.673-07:00Slumming through recession: Grexit scenarios of tourism<div class="MsoNormal" style="line-height: 200%; margin-bottom: 6.0pt;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The
result of the recent referendum in Greece over its – depending on whom you ask
– future in the Eurozone has shaken most natives, confused diasporic Greeks who
could not vote from abroad and angered those less sympathetic to the Greek
cause. I think that there is enough to-ing and fro-ing in the cybersphere on
the so-called ‘</span><a href="http://www.bbc.co.uk/news/world-europe-32332221"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Grexit</span></a><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">’
these days, so I will not add further comments. My observations relate to a
lateral issue: it concerns what glocal responses (as in Robertson 1995) to
troika policies did to alter the country’s image as a tourist destination (for
critics of such market policies, it helps to remember that as is the case with
other island states, the Greek economy depends on tourist flows to the date).
Connected to this question is how foreigners came to view the country as a
‘host’ more generally over the last two years or so.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: 6.0pt;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: 6.0pt;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Like
most, I too remain confused. One of my latest Facebook travels revealed a link
to a video in which Greek students from Birmingham dance in the rhythms of
Zorba the Greek on campus – a rather bizarre reaction to the definitive ‘No’ that
the ‘Greek people’ had delivered to its ‘EU oppressors’ only a few hours ago
(the actual video dated from 2012 and was posted on You Tube on the Greek
Independence Day– see </span><a href="https://www.youtube.com/watch?v=1U2bdXZzel0"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Mack, 25 March 2012</span></a><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">).
I compared this to the dancing and celebration scenes at Exarchia when the
first referendum voting results were announced (</span><a href="https://www.youtube.com/watch?v=WtxIq2dyiDU"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">No Comment TV, 06 July</span></a><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">),
and wondered how the coupling of such desperate defiance with performances of
the most touristified Greek music would appear to a visitor’s eyes. The
surrealist gusto Greeks display has various, unseen at this point,
consequences, possibly exacerbating stereotypical conceptions of Greek habitus
and streamlining those back into a rejuvenated, if not <i>radically redefined tourist market</i>.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: 6.0pt;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Let
me backtrack a bit to explain this potentially surreal effect: I am sure most
of us remember the political background of 2008 (see </span><a href="https://en.wikipedia.org/wiki/2008_Greek_riots#Criticism_of_the_Government"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Wikipedia,
undated on ‘Ta Dekemvriana’</span></a><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">, including Greek anti-government
protests after </span><a href="https://en.wikipedia.org/wiki/New_Democracy_(Greece)"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Nea
Dimokratia’s</span></a><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"> failure to restructure the country’s
labour markets (Papadimitriou 2009: 51-2; Tzanelli 2011: chapter 6) – further
challenged from 2010, when the Greek economy experienced another dip that would
push the country to borrow more, accumulate a debt impossible to repay and, finally,
under a left-wing government, respond to its debtors’ threats with proposals to
exit the common EU currency and the EU itself. There is so much media talk
about the proliferation of disorder and fostering of all sorts of terrorism in
the country; booking your package holiday to a Greek island is a <i>de facto</i> bad idea. To mobilities
academics like myself this might suggest that we have eventually reached the
‘end of tourism’ as a political reality. Public frustration has proceeded to
remove the glossy veneer from the country’s cosmetic cosmopolitanism (Nederveen
Pieterse 2006) – a veneer in earnest also necessary for engaging with other
cultures, including the alleged ‘superficiality’ of touring and media arts –
leaving its ‘skin’ blemished by centuries of foreign interference, ‘bare’, like
the lives of its disposed citizenry. So, the neoliberal cage seems to have been
exchanged with one of sheer terror. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: 6.0pt;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">If
not cautiously unpacked, such statements merely reverse Fukuyama’s (1992)
reflections in the <i>End of History</i>,
the universalization of Western liberal democracy as the final form of human
government that shunts radical alternatives in a conservative deadlock: either
our history terminates in evolutionary terms, or extremism terminates its
industrial <i>human capital</i>. There are
other voices that argue that tourism has ended in new global environments of
mobilities in the sense that we cannot separate it from other forms of
spatio-temporal and functionally differentiated movements, such as migration,
business travel, technological services, skills and the like – that we live in
the age of nomadology (Hannam 2008; Hannam et.al. 2006). Unfortunately,
observations that tourism ends where terrorism and other forms of social
conflict thrive (Korstanje and Clayton 2012) are very close to contemporary
Greek realities. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: 6.0pt;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">From
the start of the global recession the end of Greek tourism manifested itself in
bundles of endogenous (strikes and protests against cuts, welfare retrenchment
and poverty-induced troika policies as well as rising levels of xenophobia
against both tourists and migrants) but also exogenous (terrorism allegedly
exclusively of alien origins) mobilities. All of them retain the nomadological
attributes of strangeness – referring to both privileged and disenfranchised
aliens. Gone were the peace of some island beaches, upon which tourists would
now increasingly find migrants (alive or dead) washed ashore (usually from
Greece’s archenemy-state, Turkey) (</span><a href="http://www.independent.co.uk/news/world/europe/british-tourists-complain-impoverished-boat-migrants-are-making-holidays-awkward-in-kos-10281398.html"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Bearden,
29 May 2015</span></a><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">); Acropolis tours for cultural tourists,
who would be blocked by labour strikers and protesters against heritage
privatisation (see Smith, </span><a href="http://www.theguardian.com/business/2011/jun/27/greek-communists-storm-acropolis-bailout"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">27
January 2011</span></a><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"> and </span><a href="http://www.theguardian.com/world/2014/mar/16/greece-protests-sell-off-historic-buildings"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">16
March 2014</span></a><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">); and luxury urban tourisms that hordes of homeless beggars
and emergency food provision stalls would disrupt with invocations of
consumerist guilt. Contemporary Greek social landscapes tend to be at odds with
otherwise persistent tourism trends in the country (beach and heritage
holidays), when one thing is sure: the clash is here to stay. The (justified)
fear is that Greece might enjoy short tourism renaissances (</span><a href="http://www.bbc.co.uk/news/world-europe-27989995"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Lowen, 25 June
2014</span></a><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">),
but its slide into a ‘Third World’ purgatory will eventually coerce it to
redefine its global market presence. And given constant invocations of Second
World War ‘debts’ (that Germany refuses to discharge) by both the country’s
leadership and common folk, it seems that recession promoted a resentful
retrenchment into past suffering that matches so well its contemporary
landscapes of homelessness and poverty. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: 6.0pt;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Let
me be clear: I have no interest in contributing in post-neoliberal
redefinitions of Greek tourism, but plenty in providing glimpses at alarming
prognostics. The aforementioned performative protests already sit comfortably
at a crossroads between dark (of war, famine and suffering) and slum (poverty
and normally urban) tourisms in that they have become the country’s enduring
representational core in global media platforms (</span><a href="http://www.newyorker.com/business/currency/what-austerity-looks-like-inside-greece"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Gopal,
31 March 2015</span></a><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">). In many ways, global audiences have
already become ‘trained’ to gaze on Greek poverty, with all the ethical issues this
may provoke (Baptista 2012; Tzanelli 2015). It feels as if global reporting on
the crisis portrays a society at its final gasp, ready to be sacralised in
marketable images of begging, death and ‘endemic’ terrorism. But do global
audiences really care? Bauman’s (2007) argument that any attempt to sacralise
dying as a spectacle is the prelude to the represented tragedy’s neglect,
should prompt a response from the Greek governing centre. But what sort of
response – and can this escape capitalist exploitation? There could be
coordinated efforts to connect such spectacles of poverty (the ‘staple’ of
global press reporting) to progressive trends of social tourism – to employ the
poor to engage with visitors. But currently, there is no such thing in Greece. What
would also be absent from such an ‘exercise’ would be globally coordinated volunteer
tourist education - or, more correctly, ethical political consumption, given
that volunteerism is as problematic as its slum tourism counterpart. Of course,
the post-neoliberal frame in which Greece is asked to operate in market
networks does not necessarily accommodate ethical terms on consumption of such
‘spectacles’ – in any case, a controversial move. The very premise that the poor can benefit
from work in tourism is so tightly associated with experiences of (neo-)
liberal rhetoric and capitalist exploitation that radical movements such as
those promoted by </span><a href="https://en.wikipedia.org/wiki/Syriza"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Syriza</span></a><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">
would shy away from it. Others may rightly point out that any sort of
‘touristification’ would not support dewesternising, decolonising projects,
only strengthen the EU bondage (Mignolo 2000). And what about alternative
voices? It is additionally questionable
if the current budding of urban and rural cooperatives (Nasioulas 2012) as well
as a promising solidarity movement in Greece (</span><a href="http://www.theguardian.com/world/2015/jan/23/greece-solidarity-movement-cooperatives-syriza"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Henley,
23 January 2015</span></a><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">) can find profitable and fair introduction
in local tourism, or support nation-wide policies of self-government in the
Zapatistas model of development. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: 6.0pt;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Self-<i>governance</i> is a scarce resource that has
to be earned – in the Zapatistas’ case, with revolution that is not always
peaceful or contextually advisable. But social tourism has to be for the poor
and not poor in cultural resources - otherwise those in poverty join racist value
hierarchies from the back door. In addition, tourism is often consigned to
inessential policy prerogatives in (non)developing economies and ‘Third World’
experimentation focuses on hard industries and policies instead. But is this
restructuring of local markets perhaps a partial solution - or have social and
geographical inequalities in Greece deepened, irrevocably tying the mobility of
its social landscapes to nodes of business and governance managed only from
afar? <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: 6.0pt;">
<b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">References<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; text-autospace: ideograph-numeric; text-indent: 1.0cm;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Baptista,
J.A. (2012) ‘Tourism of poverty: The value of being poor in the
non-governmental order’, in F. Frenzel, K. Koens and M. Steinbrink (eds) <i>Slum Tourism</i>. London: Routledge,
125-143.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; text-autospace: ideograph-numeric; text-indent: 1.0cm;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Bauman,
Z. (2007) <i>Consuming Life</i>. Cambridge:
Polity.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; text-autospace: ideograph-numeric; text-indent: 1.0cm;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Bearden,
L. (29 May 2015) ‘British tourists complain that impoverished boat migrants are
making holidays “awkward” in Kos’, <i>The
Independent</i>. Available from </span><a href="http://www.independent.co.uk/news/world/europe/british-tourists-complain-impoverished-boat-migrants-are-making-holidays-awkward-in-kos-10281398.html"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">http://www.independent.co.uk/news/world/europe/british-tourists-complain-impoverished-boat-migrants-are-making-holidays-awkward-in-kos-10281398.html</span></a><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">
(accessed: 23 June 2015).<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Fukuyama,
F. (1992) <i>The End of History and the Last
Man</i>. New York: Free Press.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; text-autospace: ideograph-numeric; text-indent: 1.0cm;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Gopal,
A. (31 March 2015) ‘What austerity looks like inside Greece’, <i>The New Yorker. </i>Available from </span><a href="http://www.newyorker.com/business/currency/what-austerity-looks-like-inside-greece"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">http://www.newyorker.com/business/currency/what-austerity-looks-like-inside-greece</span></a><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">
(accessed 23 June 2015).<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; text-autospace: ideograph-numeric; text-indent: 1.0cm;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Hannam,
K. (2008) ‘The end of tourism? Nomadology and the mobilities paradigm’, in J.
Tribe (ed.) <i>Philosophical Issues in
Tourism</i>. Clevedon: Channel View.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; text-indent: 1.0cm;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Hannam, K., Sheller, M. and Urry, J.,
2006. Editorial: Mobilities, immobilites and moorings. <i>Mobilities</i>, 1 (1), 1-22.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; text-autospace: ideograph-numeric; text-indent: 1.0cm;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Henley,
J. (23 January 2015)</span> ‘<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Greece’s solidarity movement: “it’s a
whole new model – and it’s working”’, <i>The
Guardian. </i>Available from </span><a href="http://www.theguardian.com/world/2015/jan/23/greece-solidarity-movement-cooperatives-syriza"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">http://www.theguardian.com/world/2015/jan/23/greece-solidarity-movement-cooperatives-syriza</span></a><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">
(accessed 23 June 2015).<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; text-autospace: ideograph-numeric; text-indent: 1.0cm;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Korstanje,
M.E. and Clayton, A. (2012) ‘Tourism and terrorism: conflicts and
commonalities’, <i>Worldwide Hospitality and
Tourism Themes</i>, 4 (1): 8 – 25.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; text-autospace: ideograph-numeric; text-indent: 1.0cm;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Lowen,
K. (25 June 2014) ‘Tourists return as austerity-hit Greece emerges from crisis’,
BBC News. Available from </span><a href="http://www.bbc.co.uk/news/world-europe-27989995"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">http://www.bbc.co.uk/news/world-europe-27989995</span></a><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">
(accessed 23 June 2015).<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; text-autospace: ideograph-numeric; text-indent: 1.0cm;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Mack,
N. (25 March 2012) ‘Birmingham Zorba's Flashmob - Official Video’. Available
from </span><a href="https://www.youtube.com/watch?v=1U2bdXZzel0"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">https://www.youtube.com/watch?v=1U2bdXZzel0</span></a><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">
(accessed 08 July 2015).<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: 6.0pt;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"> Mignolo,
W.D. (2000) <i>Local Histories/Global Designs: Coloniality, Subaltern Knowledges and
Border Thinking</i>. Princeton, NJ: Princeton University Press. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; text-autospace: ideograph-numeric; text-indent: 1.0cm;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Nasioulas,
I. (2012) ‘Social cooperatives in Greece: Introducing new forms of social
economy and entrepreneurship’, <i>International
Review of Social Research</i>, 2 (2): 141-61.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; text-indent: 1.0cm;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Nederveen Pieterse, J. (2006b)
‘Emancipatory cosmopolitanism: Towards an agenda’, <i>Development and Change</i>, 37(6): 1247-57.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; text-autospace: ideograph-numeric; text-indent: 1.0cm;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">No
Comment TV (06 July 2015) ‘Greek referendum: “No” supporters celebrate in
Athens’ streets - no comment’. Available from </span><a href="https://www.youtube.com/watch?v=WtxIq2dyiDU"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">https://www.youtube.com/watch?v=WtxIq2dyiDU</span></a><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">
(accessed 08 July 2015).<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; text-autospace: ideograph-numeric; text-indent: 1.0cm;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Robertson,
R. (1995) ‘Glocalization: time-space and homogeneity-heterogeneity’, in M.
Featherstone, S. Lash and R. Robertson (eds) <i>Global Modernities</i>. London: Sage.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; text-autospace: ideograph-numeric; text-indent: 1.0cm;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Smith,
H. (27 January 2011) ‘Greek communists storm the Acropolis in bailout protest’,
<i>The Guardian. </i>Available from </span><a href="http://www.theguardian.com/business/2011/jun/27/greek-communists-storm-acropolis-bailout"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">http://www.theguardian.com/business/2011/jun/27/greek-communists-storm-acropolis-bailout</span></a><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">
(accessed 23 July 2015).<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; text-autospace: ideograph-numeric; text-indent: 1.0cm;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Tzanelli,
R. (2011) <i>Cosmopolitan Memory in Europe’s
‘Backwaters’: Rethinking Civility. </i>Abingdon & New York: Routledge.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; text-autospace: ideograph-numeric; text-indent: 1.0cm;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Tzanelli,
R. (2015)<i> Mobility, Modernity and the
Slum: The Real and Virtual Journeys of</i> Slumdog Millionaire. New York &
Abingdon: Routledge.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; text-autospace: ideograph-numeric; text-indent: 1.0cm;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Wikipedia
(undated) ‘Ta Dekemvriana’. Available from </span><a href="https://en.wikipedia.org/wiki/2008_Greek_riots#Criticism_of_the_Government"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">https://en.wikipedia.org/wiki/2008_Greek_riots#Criticism_of_the_Government</span></a><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">
(accessed 08 July 2015).</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; text-autospace: ideograph-numeric; text-indent: 1.0cm;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><span style="color: cyan;">Rodanthi is currently co-authoring an article with <a href="http://palermo.academia.edu/MaximilianoEKorstanje">Maximiliano Korstanje</a> on the effects of troika policies on Greek epistemologies of well-being.</span></span></div>
Rodanthi S Tzanellihttp://www.blogger.com/profile/13598296362787216906noreply@blogger.com0tag:blogger.com,1999:blog-7620709905606974359.post-22207931694867632212015-06-25T02:52:00.001-07:002015-06-25T02:52:23.706-07:00What is 'cinematic tourism'? A mock undergraduate essay-definition <span style="color: cyan;">This draft has been created for my <a href="http://webprod3.leeds.ac.uk/catalogue/dynmodules.asp?Y=201617&F=P&M=SLSP-2160">SLSP2160 (<i>Tourism & Culture</i>)</a> undergraduate students as a sample answer to part of an essay question. It can also be treated as a Wikipedia-style entry, which has nevertheless (openly) been created by an academic expert in the field. If you use it in your own essay or academic work, please note that its discourse is by no means exhaustive of the (rapidly growing) literature in the field.</span><br />
<span style="color: cyan;"><br /></span>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Cinematic tourism: Definitions<o:p></o:p></span></b></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">It
has been noted that especially over the last couple of decades, an increasing
number of tourists began to visit destinations featured through films or TV
series which are not directly related to tourism promotion campaigns. Many
tourists also began to form tourist fan communities online and in filmed
locations. This mass phenomenon is known by different terms, including
‘cinematic tourism’, ‘film-induced tourism’, or ‘movie-induced tourism’. All
these terms forge links between tourism in new blended forms (e.g. visiting
filmed locations to experience the cinematic story and to learn about the
filmed location and its culture, or simultaneously engage in other types of
tourism) and a particular medium (cinema and film). <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Cinematic
and film/movie-induced tourism are both interdisciplinary academic subjects and
emerging agendas for business and policy-making concerning the management if
tourist destination images and reputations. Although film-induced tourism is
more connected to business studies rather than social science theory, it is by
no means conceptually irrelevant to sociologists and tourist theorists. By the
same token, although cinematic tourism traces its roots in social and cultural
theory, it is practically applicable in business and management studies and
state policies. Both terms, and especially that of cinematic tourism, are
concerned with contemporaneous types of tourism we associate with the dawn of
the 21<sup>st</sup> century and are connected to advanced forms of technology
such as cinema and the Internet. Their chronological anchoring presents
cinematic and film-induced tourism as part of late modernisation processes and the
era of late modernity or postmodernity. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Cinematic
tourism is a phenomenon connected to globalisation: not only does it presuppose
particular forms of technological advancement (in old and new media), it also
promotes tourist connectedness, cultural hybridisation as well as economic
mergers and development. (Post)modernisation processes (including
industrialisation, technological progress, automobilisation and urbanisation)
enabled the growth of entertainment industry and international travel (Hudson
& Ritchie, 2006b). At the same time, they suggested the convergence of
tourist and media businesses located in different parts of the world and
operating independently from each other. Let us not forget that not only do
cinematic narratives tend to romanticise communities and landscapes, they are
also themselves industrial products of the city, which is a major outcome of
late modernity. Cinematic tourism builds on such romanticisations,
disseminating particular ideas and practices to every part of the world. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Scholarly debates<o:p></o:p></span></b></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">As
noted above, terminological precision determines emphasis in the content of
academic studies. For example, Tzanelli (2004, 2007, 2013) prefers the term
‘cinematic tourism’ and ‘cinematic tourist’, arguing that these <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin: 0cm 26.05pt 0.0001pt 1cm; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">Are
not uniform conceptual tools, but theoretical models internally differentiated
by the moves and motions of travel through and after film, as well as the
cinematic production of travel and tourism.The Hollywood model of the tourist
exists within cinematic texts, in the movies that we watch: it suggests ways of
consuming places, enjoying and “investing in” (for educational purposes) our
holiday time. At the same time, touring through cinematic images produces a
second type of tourist who uses the power of imagination to explore the world.
This version of the tourist corresponds to the movie viewer, who “reads” and
consumes film. The surplus meaning of a film enables audiences to travel
virtually, to experience the filmed locations at a distance: thus the impulse
to visit these locations originates in the imaginary journey on the screen. A
third version of the ‘cinematic tourist’ is created when a tourist industry is
established in filmed locations, through the products that tourist industries
offer when they exploit the film’s potential to induce tourism. There is also a
fourth type of cinematic tourist that completes the imagined journey of movie
watchers. This is the tourist in the flesh, who visits places because they
appeared in films, and whose experience of travel may be influenced by film and
the attractions that the tourist industry has to offer. The interdependency of
these types is not fixed: filmed locations are also visited by tourists who
never watched movies and watching a movie will not necessarily result in
visiting the filmed place’ (Tzanelli 2007/2010: 2-3).<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Tzanelli
therefore builds a theoretical and analytical model that includes a variety of
cinematic tourists such as<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin: 0cm 26.05pt 0.0001pt 1cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">1. Cinematic
actors/agents<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 26.05pt 0.0001pt 1cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">2. Film
characters<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 26.05pt 0.0001pt 1cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">3. Film
audiences<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 26.05pt 0.0001pt 1cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">4. Web surfers
of cinematic stories (for example, users and visitors of official film websites
but also users of other tourist websites linked to the film that inspired
tourist visits)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 26.05pt 0.0001pt 1cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 10.0pt;">5. Visitors of
filmed locations</span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">She
further explains that different types of tourism and tourists are condensed in
‘cinematic tourism’, and that not all of them are covered by the ‘film-induced
tourism’ model. <o:p></o:p></span></div>
<div class="MsoListParagraphCxSpFirst">
<br /></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; mso-fareast-font-family: Arial;">•<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;">
</span></span><!--[endif]--><span style="font-size: 10pt;">Representations and simulations of
tourist mobilities within cinematic texts (</span><b><span style="color: red; font-size: 10.0pt; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">heroes
in film as tourists</span></b><span style="font-size: 10pt;">)</span><span style="font-size: 10.0pt;"><o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; mso-fareast-font-family: Arial;">•<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;">
</span></span><!--[endif]--><span style="font-size: 10pt;">The act and performance of film
viewing and interpretation (</span><b><span style="color: red; font-size: 10.0pt; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">by audiences</span></b><span style="font-size: 10pt;">)</span><span style="font-size: 10.0pt;"><o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; mso-fareast-font-family: Arial;">•<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;">
</span></span><!--[endif]--><span style="font-size: 10pt;">Virtual travels and constructions
of ‘tourist’ online (</span><b><span style="color: red; font-size: 10.0pt; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">web surfers for relevant films,
Internet business</span></b><span style="font-size: 10pt;">)</span><span style="font-size: 10.0pt;"><o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; mso-fareast-font-family: Arial;">•<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;">
</span></span><!--[endif]--><span style="font-size: 10pt;">Film viewing that transforms into
embodied visits of the cinematic stage (</span><b><span style="color: red; font-size: 10.0pt; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">fans visiting
filmed sites</span></b><span style="font-size: 10pt;">)</span><span style="font-size: 10.0pt;"><o:p></o:p></span></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l0 level1 lfo1; tab-stops: list 36.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; mso-fareast-font-family: Arial;">•<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;">
</span></span><!--[endif]--><span style="font-size: 10pt;">Film acting and directing as part
of model (</span><b><span style="color: red; font-size: 10.0pt; mso-fareast-font-family: +mn-ea; mso-font-kerning: 12.0pt;">location-hunting, embodied presence in
filmed sites</span></b><span style="font-size: 10pt;">) (Tzanelli, Tourism and Culture
SLSP2160, 2012)</span><span style="font-size: 10.0pt;"><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">This
typology highlights the complexity of global cultural industries and the ways
in which different industries (tourism, media and film) may converge. Such
contingent, loose connections are termed ‘sign industries’ (Tzanelli 2004, 2007/2010)
– that is, industries promoting business through groups of signs that acquire
the same meaning (e.g. <i>The Lord of the Rings </i>(2001-3) cinematic
trilogy or the <i>Harry Potter Films</i>)
are connected and marketed in relation to particular places (New Zealand,
England) and foster particular tourist rituals (e.g. visiting filmed sites,
buying film and music products, or the original literature on which films are
based as part of the cinematic myth). Hence, sign industries participate in the
creation and modification of collective and individual imaginations (of film
audiences and tourists, but also the filmed localities, nations and
nation-states). <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Tzanelli’s
models of cinematic tourism and the sign industries are connected to John
Urry’s (2002; Urry and Larsen 2011) conception of the ‘tourist gaze’, which is
by turn inspired by Michel Foucault’s poststructuralism. For Urry there are
systematic ways of ‘seeing’ tourist destinations that are rooted in Western
occulocentric (= visually centred) practices, and which produce discourses of modernity.
Hence, visual culture is for Urry essential for the construction of the tourist
experience as much as it contributes to the maintenance and expansion of
tourism as an organized system of leisure. Though Tzanelli regards the visual
as essential component of cinematic tourist imaginations she also stresses the
significance of other senses in the production of film (audiences and fans),
virtual (web surfers) and actual (visitors of filmed locations) tourisms (see
Tzanelli 2013).Her other emphasis on hyperreality, which is borrowed by
Baudrillard’s conception of simulacra and simulation, is also shared with other
sociologically orientated scholars, such as Stijn Reijnders (2011a &
2011b), who studied the multimedia character of tourism connected to
blockbusters and popular films and TV series such as <i>Inspector Morse, Dracula, The Lord of the Rings</i> or <i>The Da Vinci Code. </i> <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Other
new research on cinematic or media tourism suggests that tourism institutions
connected to national centres or regional and global business networks must pay
closer attention to the rituals and practices of cinematic tourists: Peaslee
(2010, 2011) investigated the experience of visitors to the ‘Hobbiton’
(Matamata) location site in New Zealand that was included in the production of <i>The Lord of the Rings</i> films. Peaslee,
who stands between Tzanelli’s emphasis on media structures and tourist agency
and Reijnder’s emphasis on tourist experiences, developed a thesis from
Couldy’s (2003) work on media centres and bounded spaces that he applied to his
fieldwork in New Zealand. After participant observation of several tours of the
Hobbiton attraction and in-depth interviews with visitors and guides, he
concluded that attitudes toward and behaviours within this tourist attraction
are indicative of an embodied assent to a particular kind of media power.
Tourists and tourist hosts in Hobbiton (Matamata) must be examined as actors
responding to a repeating discursive structure that, by creating boundaries and
sanctifying spaces, canalizes attitudes, behaviour, and movement.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">‘Film-induced
tourism’ demarcates a narrower subject area than ‘cinematic tourism’. Beeton’s
(2005: 5-8) definition refers to the ways historically tourism borrowed from
artistic uses of the picturesque (an idea originating in Seaton’s [1998]
analysis of visual media and tourism) and contemporary creation of tourist
markers for the development of tourism in filmed sites (a comment originating
in MacCannell’s [1989] consideration of staged authenticity in tourist
settings). Beeton is concerned about the impact of tourism can have on
localities. She argues that ‘tourism carries with it the seeds of its own destruction’
(Beeton 2005: 12) because it can lead to environmental degradation and
community disintegration. Debating the problem from a destination-marketing
point of view, Beeton argues for organized and sustainable development
strategies These preliminary observations are also relevant to Tzanelli’s
‘cinematic tourism’ model, but their empirical analyses differ, with Beeton
being more geared towards marketing imperatives and less on critical theory.
All the same, the study of both concepts is compatible rather than adversarial.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">An
example of film-induced tourism would be travelling to New Zealand because of
the desire to see the movie sets and landscapes featured in <i>The Lord of the Rings</i> movies (Tzanelli
2004; Beeton 2005; Roesch 2009).Though early studies of this phenomenon
highlighted the enhancement of memories of location and film experiences through
associations with the films’ actors, events and setting (Riley & Van Doren,
1992), scholars did not examine actors and directors as ‘tourists’. Film-induced
tourism was defined solely in terms of tourist visits to destination featured
on television, video, or films (Beeton, 2005; Hudson & Ritchie,
2006a). Otherwise put, travellers in
search of filmed sights are film-induced tourists (Butler, 1990; Busby &
Klug, 2001). Butler (1990) suggested that ‘films can influence the travel
preference of those who expose to the destination attributes and create a
favourable destination image through their representation’ (Rewtrakunphaiboon, 2009:
2). Hence, film-induced tourism tends to focus on the ways marketing efforts
and previous travel influence destination choice by rationalising individual
decision-making processes (Iwashita, 2003; Iwashita, 2006). It is not
coincidental that film-induced tourism is methodologically connected to social
disciplines such as psychology that measure decision-making variables of less
importance in disciplines such as sociology and anthropology, which focus on
collective action.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Impacts, benefits and consequences<o:p></o:p></span></b></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">There
is a stream of film-induced tourism studies that ascertain the impact of
cinematic and digital cultures on people’s perceptions of place and culture.
For example, O’Connor (2010) argues that since young people spend much of their
leisure time watching TV or surfing the Internet, this exposure will have an
impact on their perception of certain destinations. Sellgren (2011) also
claimed that the movie Lost in Translation led to a positive image of Japan in
the minds of the students who had participated in a discussion round about this
movie. Such studies connect to earlier media theory that infers consequences
from supposed causes (e.g. hypodermic model). In any case, they contribute less
to understandings of collective social action and to tourism theory. A more
amenable example is provided by Croy’s (2011) investigation of the role of film
in broader tourist decision making, and the influence and management of this
process. Croy (2011) highlights the use of film images to align potential
tourists to the destination’s ideal image. Like others, he argues that films
influence activities and routes when at the destination (Macionis and Sparks,
2009). Whereas he claims that films are incidental in the production of tourist
industries, they are a tourist activity and contribute to regional economies
(Croy and Buchmann, 2009). <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
impact on regional and national economies and cultures is significant. As
Tzanelli (2004; 2007: chapter 3; 2013: chapter 2) explains, not only did The
Lord of the Rings revamp New Zealand’s cultural profile as the ‘New Middle
Earth’ (rather than a peasant country, it also generated urban tourist and
media traffic from the U.S. and the U.K. while strengthening the ties between
New Zealand’s artistic leadership (LOTR
director Peter Jackson) and other transnational artists (e.g. Guillermo del
Toro’s involvement in the Hobbit trilogy) and creative urban centres (e.g. LA
acting as a <i>Hobbit</i> media hub). In
addition, (hosted) journalists’ reports on filming locations, and the
well-known actors and directors prompted to report on their location
experiences (Croy, 2011: 162). Generally, film-induced and cinematic tourism
can revitalise regional/rural communities and increase tourism to urban centres,
with Auckland as an example in point (Beeton 2005). An interest in the nation
and its positive image can eventually lead to an actual visit to the country as
is the case with the increased Japanese interest in touring the UK (Iwashita,
2006). In addition one may argue that cinematic tourism has become one of the
all-weather attractions that counter problems of seasonality in the tourism
industry, as is the case with some filmed Australian rural areas (Beeton,
2004).<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
environmental benefits and problems connected to cinematic tourism are many.
There is no doubt that film can act as a sort of knowledge repository for
certain aspects of the country such as nature: the natural beauty of filmed
landscapes increases the cultural value for the film location. However,
especially protected natural destinations can be damaged by filming or be
deemed to be ‘in danger’ of destruction. Whereas such fears are not always
true, they can act as activist trigger that obstructs both the development of
the filmed region and the reputation of the state to which this belongs. One
such example is the film <i>The Beach</i>
(2000, director Danny Boyle), which was used by Internet tourist providers for
the promotion of Thailand as a travel destination. Various environmentalist
groups highlighted that the adaptation became complicit in the advertising of
the country as an ‘Edenic destination’ for<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Westerners.
This was achieved through the organisation of protests when 20th Century Fox<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">decided
to ‘conform’ the area in which the movie was filmed (Phi Phi Leh of Krabi area)
to<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">images
of tropical tourist paradises. What was obscured in this case was the
problematic political environment in which film industries had to operate:
coerced to negotiate with a state that invited foreign capital but paid little
attention to local development, not aware of the areas’ racist histories of
migration, and assuming the role of stereotypical Western outsiders, resulted
in their scapegoating by activists (Tzanelli, 2006). The events seemed to have
acted as a learning experience for the artistic contingent, with Boyle
especially becoming implicated in beneficial community development projects in
the context of his later film, <i>Slumdog
Millionaire </i>(2009). <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">It
must be noted that, increasingly, artistic communities become implicated in
such projects even independently from – if not against - any tourist
imperatives. In search of interesting locales to photograph for the forthcoming
film <i>Avatar</i> (2009, director James
Cameron), computer generating image professionals stumbled upon the tribes of
the Amazonian rainforest whose culture and livelihood face extinction due to a
government-backed multibillion project to build the Belo Monte Dam. ‘Director
Cameron, producer Jon Landau, and the crew joined forces with anthropologists,
tribesmen, regional, and (trans)national activists to cancel these plans. […]
Cameron himself appears in one open-access video —promotional of his relevant
documentary—confessing that he always wanted to travel to Brazil’s virgin
territories (A Message from Pandora, n.d.). Elsewhere, he is depicted amongst
indigenous populations like <i>Avatar’s</i>
soldier Jake or an ethnographic traveller-investigator, uncovering evidence of
coordinated crimes against localities. <i>Avatar</i>
actor Sigourney Weaver’s video adopts a humanitarian style (Amazon Watch,
2011), prompting viewers to sympathize with the cause.’ (Tzanelli 2013b: 2). Such
initiatives clash with tourist growth of regions in the name of humanitarian or
environmental causes – only this time, the architects are not the localities
but artistic leaders.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Film
tourism is a medium that communicates a wide range of cultural meanings and
values tied to filmed lands and venerated national artefacts. There is no doubt
that heritage sites serving as film locations gain popularity after the film
(Busby & Klug, 2001). However, once a heritage site becomes part of the
cinematic and tourist imaginary, conflicts may arise. ‘Heritage sites’
incorporated in films, include both tangible (architecture, monuments and
museum artefacts) and intangible tokens (histories, literatures and ideas).
Again, both localities and nation-states may react to such cultural
‘intrusions’ in varied ways. For example, the cinematic adaptation (2001) of <i>Captain Corelli’sMandolin</i>, a novel by
Louis de Bernières, was met with various responses in the filmed places of the
Greek island of Kefalonia (Tzanelli 2003; Tzanelli 2007/2010: chapter 4). Like
the novel, the film was set against the historical background of the Greece’s
Axis Occupation, ‘the operation of Greek Resistance, and civil strife between
the Greek communist fighters of EAM/ELAS (National Liberation Front/Greek
People’s Liberation Army) and anti-communist forces’ (Tzanelli 2003: 220).
While generating instant tourist traffic, with Hollywood fans flocking in to
see the filming and the actors, and also subsequent tourist visits to its
beaches, its natural areas and the Second World War Memorial to the fallen
Italian soldiers, local communist veterans felt offended by this
commercialisation and the town of Sami responded negatively to the culture
industry with protests and supplications to human rights institutions to ban
this ‘plundering’ of heritage (also Tzanelli 2007/2010: chapter 4). <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
response was different when <i>My Life in
Ruins/Driving Aphrodite </i>(2009, director Donald Petrie) was shot in the
Acropolis. ‘The idea of “hard bargaining” defined the actions of Greece’s
powerful Archaeological Council (KAS) in 2006-7, when Greek-Canadian actress
Vardalos managed to obtain permission to shoot her new comedy […] Since the
1960s, when the <i>The Guns of Navarone</i>
and <i>Zorba the Greek </i>used Rhodes and
Crete as backdrops, no major film was shot in the country. The fact that recent
Hollywood blockbusters <i>Troy</i>, <i>Alexander</i> <i>the Great</i> and <i>300</i> (all
related to Hellenic history) were filmed elsewhere has to do with Greek
anti-Americanism dating back to the junta (1967-74) and the lack of tax
alleviations the government was prepared to give to filmmakers. Yet, […]
despite Greek warnings that no ancient stone should be moved and no cinematic
enhancement should be made to the archaeological site, Vardalos’ enterprise was
supported by the Ministers of Culture and Tourism and the Greek Film Centre
whose website today proudly hosts photos of the shooting (see H.F.C.O.
website)’ (Tzanelli, 2008; Tzanelli, 2013a: chapter 4). <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
uses of tangible and intangible heritage in films that induce tourism
inevitably tap on questions of propriety or even public morality, as is the
case with <i>The Da Vinci Code </i>cinematic
adaptation (2006, director Ron Howard) of Dan Brown’s novel. The film came to
operate as a ‘node’ for European capitalist networks of corporeal and virtual
travel, assisting in the production of a new type of commercialised ‘pilgrim’
that democratised tourism to old heritage sites in Europe (Tzanelli, 2010).
There were however reactions to such trends both by the French public and even
Catholic constituencies that objected to the uses of religion in the story
(Tzanelli, 2013a: 63-93). Therefore, careful planning is necessary both for the
selection of projected filmed landscapes and the granting of permissions to
film them. The same caution applies to tourism business that capitalises on
sich commercialised pilgrimages: for example, an ethnographic study of <i>James Bond</i> tourism by Reijnders (2010)
suggests that such consumptions of cinematic plots might become interwoven with
patriarchal notions of masculinity, as visiting filmed sites allows fans to
embody glamorised understandings of manliness.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Sociological
and anthropological studies of this intersection between tourism and cinema are
work in progress. Graml (2004) has shown for example that the budding <i>Sound of Music </i>tourism in Austria in
places such as Salzburg is treated with suspicion by locals who dissuade
visitors from joining independent tours to filmed locations when in America
Austrianness is defined by such films. While most Austrians presumably concede
that Sound of Music tourism is important for the country’s GDP, they consider
the film to be a typical product of Hollywood cinema that, unfortunately,
manages to drown out the real Austrian heritage embodied by Mozart. In the
Greek island of Skiathos that served together with the neighbouring Skopelos as
the cinematic stage for the musical <i>Mama
Mia!</i> (2008), there is an uneasy coexistence of local and national
traditions and the tourism that is attached to them on the one hand, and
postmodern simulations of the musical’s story on the other. Tzanelli (2011)
suggests that this informs generational dissonance (with younger entrepreneurs
more amenable to cinematic tourism) but also the ubiquitous disconnection of
peripheral areas from the national centre that for structural reasons fails to
support local development, allowing regional rivalries to grow. In this
respect, ‘cinematic tourism’ is never limited to academic and scholarly
scrutiny but informs practices and policies of national and transnational
institutions such as UNESCO. <o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">References<o:p></o:p></span></b></div>
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Rodanthi S Tzanellihttp://www.blogger.com/profile/13598296362787216906noreply@blogger.com0tag:blogger.com,1999:blog-7620709905606974359.post-47591330562240753162015-03-01T06:05:00.001-08:002015-03-01T06:05:12.047-08:00Interdisciplinary Journeys: Belly dancing and embodied answerability in mobile...<a href="http://rtzanelliinterdisciplinary.blogspot.com/2015/03/belly-dancing-and-embodied.html?spref=bl">Interdisciplinary Journeys: Belly dancing and embodied answerability in mobile...</a>: Wither ‘race’? There is an issue I set aside last time for reflection: does the race of belly dancers matter? How does it affect the ge...Rodanthi S Tzanellihttp://www.blogger.com/profile/13598296362787216906noreply@blogger.com0