Consuming dystopic places: What answers are we looking for?

Farkić, Jelena

doi:10.1016/j.tmp.2019.100633

Cited by 12 publications

(10 citation statements)

References 39 publications

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“…Yet, it seems that in this era of rediscovering and reinventing death within the tourism spectrum, the role of the witness appears rather limiting especially if the offered product is staged or touristified (Cohen, 2011). Most literature on dark tourism has exhaustively focused on either a) what tourists witness in terms of typology of sites like prisons (Strange and Kempa, 2003), battlefields (Miles, 2014), or entire countries as North Korea (Buda and Shim, 2015), or b) why they choose to, passing from the pro-visit motivational spectrum (Biran et al, 2011;Gillen 2018) to a more general basis (Stone, 2006;Light, 2017), or c) to a lesser degree, the affective result of the experience to the Self during and postvisit (Martini and Buda, 2018;Farkic, 2020). These typologies of sites and motivations have been structured through a 'continuum of intensity' (Seaton, 1996:240;Stone, 2006) from light to darker, based on temporal dimension or what Lennon and Foley (2000) mentioned as chronological distance from death, and site association with death (Miles, 2002).…”

Section: Being a Dark Tourist: From Voyeur To Performermentioning

confidence: 99%

“…The pro-visit motivational spectrum has been widely investigated whether in specific case studies (Biran et al, 2011;Kidron, 2013;Gillen 2018) or on a general basis (Stone, 2006;Light, 2017), presenting motivations such as education (Thurnell-Read, 2009), curiosity (Biran et al, 2011), remembrance (Farmaki, 2013), sense of duty (Thurnell-Read, 2009) or a 'must-see' site (Isaac and Çakmak, 2016). The affective result of the experience to the Self during and post-visit is still under study (Kidron, 2013;Martini and Buda, 2018;Farkic, 2020). Whether for educational, recreational, or affective motives, dark sites seem to mushroom within the tourism market and even though an important amount of literature demonstrates that relation, less has been investigated on the particular role that the tourists are asked to act upon in dark sites, that is, how they participate.…”

Section: Being a Dark Tourist: From Voyeur To Performermentioning

confidence: 99%

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How to Be a Dark Tourist: Analysis of the Tourist Behavior Through a Documentary Series

Zerva

2023

Cuad. Tur.

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Over the past few decades, dark tourism has become increasingly popular. The level of participation of the dark tourist within a dark site underlies the variety of experiences that can be produced, depending on the type of audience engagement. This study attempts to design the discourse of a performance-based typology of dark tourism, built on the representations of tourists’ participation within the Netflix documentary series Dark Tourist. As screen tourism can influence behavior patterns, a typology of spectator, spect-actor, and actor roles is presented. En las últimas décadas, el turismo oscuro se ha vuelto cada vez más popular. El nivel de participación del turista dentro de un sitio oscuro subyace en la variedad de experiencias que se pueden producir, según el tipo de participación de la audiencia. Este estudio intenta diseñar el discurso de una tipología performativa del turismo oscuro, construida a partir de las representaciones de la participación de los turistas dentro de la serie documental de Netflix, Dark Tourist. Dado que el turismo de pantalla puede influir en los patrones de comportamiento, se presenta una tipología de roles de espectador, actor-espectador y actor.

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Section: Being a Dark Tourist: From Voyeur To Performermentioning

confidence: 99%

Section: Being a Dark Tourist: From Voyeur To Performermentioning

confidence: 99%

How to Be a Dark Tourist: Analysis of the Tourist Behavior Through a Documentary Series

Zerva

2023

Cuad. Tur.

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“…Alongside the development of initial definitions and typologies, there has been a growing interest and effort to identify sub-forms of dark tourism and, therefore, a myriad of different conceptualizations have emerged over the past decades, such as dystopian dark tourism (Farkić, 2020; Podoshen et al , 2015), disaster tourism (Robbie, 2008; Yankovska & Hannam, 2013) and nuclear tourism (Gusterson, 2004; Hryhorczuk, 2019). A consensus has not been reached regarding the definition of the phenomenon nor its relation to heritage studies generally (Lennon, 2017; Light, 2017).…”

Section: The Place Of Dark Tourism In Heritage Studiesmentioning

confidence: 99%

“…Due to the long-term and far-reaching social, cultural and economic effects of the disaster: health impairments, the trauma brought by the evacuation, the loss of jobs, social networks and places of historical value, it has not remained unnoticed in the social sciences or humanities either (Stone, 2013; Yankovska & Hannam, 2013; Yankovska & Hannam, 2018). Phenomenological, autoethnographical inquiries into visitors’ embodied responses, interpretation processes and engagements with the sites of dark and difficult heritage have recently acquired more academic attention (Farkić, 2020; Farkić & Kennell, 2021; Hryhorczuk, 2019; Rush-Cooper, 2020). These studies diversify the knowledge on embodiment and senses behind the tourists’ site experience and in the construction of the site knowledge.…”

Section: Introductionmentioning

confidence: 99%

Chernobyl dreams: investigating visitors’ storytelling in the Chernobyl exclusion zone

Ojala

2022

IJTC

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Purpose Little is known about the overall meaning of the Chernobyl exclusion zone (CEZ) from the visitors’ point of view. Conceptualizing the zone as a storyscape and its narratives as intangible heritage resources, this study aims to investigate the visitors’ engagement with these resources and the resulting articulations from the engagements as translated into verbal and visual storytelling. Design/methodology/approach Participant observation and participant generated images in combination with in-depth interviews with different types of tourists were conducted. This paper uses the photographs chosen by the interviewees themselves as a photo essay to explore the evocation of stories through narrative engagement. Findings Through participant-oriented research, this study identified three dominant storytelling themes through which visitors focus their understanding of the CEZ. Visitors’ narrative engagements and visual storytelling co-produce the site and entail fluid and even conflicting narrative articulations about the CEZ and its cultural significance. Research limitations/implications The discoveries of this study stem from a unique developing heritage site. This study provided a more nuanced understanding of the different visitor categories in the CEZ and their group-specific ways to articulate, imagine and co-produce the storyscape of Chernobyl. Originality/value Gaining insight into the verbal and visual storytelling of tourists will contribute to the discussion of narrative consumption of different consumption profiles in tourism sites in addition to the mediation and construction of entangled memory spaces.

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“…Postmodern contexts for the growth of dark tourism (Powell & Kennell, 2016) offer competing conceptualizations of this, in the context of increasing interest in utopian and dystopian visions of the world (Farkic, 2020;Podoshen et al, 2015). There is no agreement in the literature about the categorizations of dark tourism motivations, and all that can be certain is that there are a wide variety of these (Raine, 2013;Isaac & Cakmak, 2014).…”

Section: Dark Tourism and Heritage Tourismmentioning

confidence: 99%

Dark tourism and World Heritage Sites: a Delphi study of stakeholder perceptions of the development of dark tourism products

Kennell

Powell

2020

Journal of Heritage Tourism

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Dark tourism has attracted increasing academic attention, but the extent to which it exists as a separate form of tourism from heritage tourism is not yet clear. Despite the growth of UNESCO World Heritage Site designations, little research has considered the relationship between dark tourism and World Heritage Sites. Because the development of dark tourism is beset with ethical concerns, heritage professionals can have negative perceptions about the acceptability or attractiveness of it for the sites that they are involved in managing. This research used a qualitative Delphi Panel method to evaluate stakeholder perceptions of the potential development of dark tourism to the Greenwich Maritime World Heritage Site in London, United Kingdom. The findings show that stakeholders are broadly supportive of tourism to the site and positive about future tourism growth. Despite this, they did not support the development of dark tourism to the site because it was perceived as inauthentic, tacky and sensationalist. In order to address this issue, recommendations are made that future attempts to develop dark tourism at WHS should involve enhancing the knowledge of stakeholders about dark tourism, and of the resources within their sites that could be included in a dark tourism offer to tourists.

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Consuming dystopic places: What answers are we looking for?

Cited by 12 publications

References 39 publications

How to Be a Dark Tourist: Analysis of the Tourist Behavior Through a Documentary Series

How to Be a Dark Tourist: Analysis of the Tourist Behavior Through a Documentary Series

Chernobyl dreams: investigating visitors’ storytelling in the Chernobyl exclusion zone

Dark tourism and World Heritage Sites: a Delphi study of stakeholder perceptions of the development of dark tourism products

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