Using the case study of The Da Vinci Code (2006), especially the extensive promotional activities surrounding the film (organised by VisitScotland, Maison de la France and VisitBritain), this article argues that film tourism be understood as a facet of heritage tourism. Scotland is a nation with a long history as a destination for heritage tourism, including literary and art tourism, whose brand identity in this regard functions slightly differently to that of England. Scotland has a large international diaspora, the result of its specific national history, which conceives of itself as Scottish, and returns -from New Zealand, Australia, Canada and the USA - Cinema of Tourist Attractions.Film tourism is a widespread global phenomenon. To place this article in context, a short summary of the emerging field of research on this topic is necessary. There has been scholarly research into tourism for many decades, including such milestones as DeanMacCannell's The Tourist (1976) and John Urry's The Tourist Gaze (1990). The last two decades have seen an increasing acknowledgement of film's role in promoting tourism in debates surrounding cultural tourism. Such work is often found amidst examinations of broader transformations of social and geopolitical landscapes, for example, in such texts as:
Are your students baffled by Baudrillard? Dazed by Deleuze? Confused by Kristeva? Other beginners’ guides can feel as impenetrable as the original texts to students who ‘think in images’. “Contemporary Thinkers Reframed” instead uses the language of the arts to explore the usefulness in practice of complex ideas. Short, contemporary and accessible, these lively books utilise actual examples of artworks, films, television shows, works of architecture, fashion and even computer games to explain and explore the work of the most commonly taught thinkers. Conceived specifically for the visually minded, the series will prove invaluable to students right across the visual arts. Deleuze disdains easy answers. Yet easy answers to Deleuze are what students need. Without reducing Deleuze’s complex body of thought to simplistic solutions, this very contemporary guide leads the reader into the world of Deleuze's spiralling thought through concrete examples from art, film, TV and even computer games. From ‘Eternal Sunshine of the Spotless Mind’ and ‘The Cell’ to ‘Pac Man’ and ‘Doom’ and from the work of Matthew Barney and Helen Chadwick to ‘Lost’ and ‘Doctor Who’, this easily digestible introduction looks at the key ideas promoted by Deleuze, both in his own work and in his notoriously difficult collaborations with Felix Guattari, to make them both fresh and relevant to the visual arts today.
Patricio Guzmá n's Nostalgia for the Light (2010) focuses on landscape as a physical archive in order to explore the way in which film archives history. This can be seen in the film's construction of affective or 'faceified' landscapes through which we can enter into the past. To draw out this aspect of the documentary, my theoretical approach utilizes the philosophy of Gilles Deleuze, specifically the concepts of the 'crystal of time' 1 and the 'any-space-whatever'. 2 This remains a relatively unusual philosophical lens through which to view a documentary, in particular one about Latin America, yet it provides productive insights with regard to the temporal dimension of the film's exploration of the material landscape and its role in the archiving of what can be usefully dubbed a 'universe memory'. Thus, a Deleuzian approach provides insights into the film's examination of history conceived of as national (recent Chilean history, including in particular the recent Pinochet dictatorship), regional (Latin America's history of colonial extermination of indigenous peoples and diasporic settlement) and global (the history of the world conceived of as a heritage of universal matter that stretches back beyond human origins).
Popular Indian cinema provides a test case for examining the limitations of Gilles Deleuze's categories of movement-image and time-image. Due to the context-specific aesthetic and cultural traditions that inform popular Indian cinema, although it appears at times to be both movement- and time-image, it actually creates a different type of image. Analysis of Toofani Tarzan (1936) and Dilwale Dulhania Le Jayenge (1995) demonstrates how, alternating between a movement of world typical of the time-image, and a sensory-motor movement of character typical of the movement-image, popular Indian cinema explores the potential fluxing of identities that emerge during moments of historical complexity.
scite is a Brooklyn-based organization that helps researchers better discover and understand research articles through Smart Citations–citations that display the context of the citation and describe whether the article provides supporting or contrasting evidence. scite is used by students and researchers from around the world and is funded in part by the National Science Foundation and the National Institute on Drug Abuse of the National Institutes of Health.
hi@scite.ai
10624 S. Eastern Ave., Ste. A-614
Henderson, NV 89052, USA
Copyright © 2024 scite LLC. All rights reserved.
Made with 💙 for researchers
Part of the Research Solutions Family.