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This unique book considers COVID-19 as one pandemic amongst many,
forming an episodic era of ebbing and flowing crises: the Virocene.
Investigating COVID-19 in the context of the phenomenology of the
crisis, it offers critical exploration of key theses in the study
of mobility and futures, travel and citizenship. Through
thought-provoking and insightful analysis Rodanthi Tzanelli
suggests that COVID-19, and any highly infectious virus that
follows, evolves into the new self-governing principle of various
forms of movement, acting as an ontological magnet: as mobilities
become reshaped by remote technologies, the very order of reality
changes. Examining how one viral crisis can trigger more crises,
prompting radical self-assessment in the new orders of life,
Tzanelli suggests that the Virocene and the Anthropocene interact
in ways that may lead to multiple ecological failures or produce
the key to better futures. This interdisciplinary book analyses
contemporary events from a range of perspectives, providing a
large-scale qualitative assessment of recent phenomena. It will be
a key resource for students and scholars of cultural sociology,
sociological theory, geography, anthropology, environmental
humanities and communication studies, while also benefiting
practitioners in crisis management and policymaking interested in
alternative approaches to pandemics and social change.
This groundbreaking book investigates the clash between a desire
for unfettered mobility and the prevalence of inequality, exploring
how this generates frictions in everyday life and how it challenges
the ideal of just cosmopolitanism. Reading fictional and popular
cultural texts against real global contexts, it develops an
'aesthetics of justice' that does not advocate cosmopolitan
mobility at the expense of care and hospitality but rather
interrogates their divorce in neoliberal contexts. In this timely
analysis, Rodanthi Tzanelli discusses questions of social injustice
in the context of multiple and intertwined mobilities - business,
technology, travel, tourism, popular cultural pilgrimage and social
movements - that are at the forefront of early twenty-first century
socio-cultural concerns. The book thus creates an interdisciplinary
intervention on the politics and poetics of mobility in rapidly
globalised lifeworlds and places. Human geography and sociology
scholars with a particular interest in mobilities studies,
cosmopolitanism, social theory and tourism or pilgrimage studies
will find this book an intriguing and insightful read.
This book advances an alternative critical posthumanist approach to
mega-event organisation, taking into account both the new and the
old crises which humanity and our planet face. Taking the delayed
Tokyo 2020 Olympic Games as a case study, Tzanelli explores
mega-event crisis and risk management in the era of extreme
urbanisation, natural disasters, global pandemic, and
technoscientific control. Using the atmospheric term 'irradiation'
(a technology of glamour and transparency, as well as bodily
penetration by harmful agents and strong affects), the book
explores this epistemological statement diachronically (via Tokyo's
relationship with Western forms of domination) and synchronically
(the city as a global cultural-political player but victim of
climate catastrophes). It presents how the 'Olympic enterprise's'
'flattening' of indigenous environmental place-making rhythms, and
the scientisation of space and place in the Anthropocene lead to
reductionisms harmful for a viable programme of planetary recovery.
An experimental study of the mega-event is enacted, which considers
the researcher's analytical tools and the styles of human and
non-human mobility during the mega-event as reflexive gateways to
forms of posthuman flourishing. Crossing and bridging disciplinary
boundaries, the book will appeal to any scholar interested in
mobilities theory, event and environment studies, sociology of
knowledge, and cultural globalisation.
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. 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. 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.
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. Without
disregarding such developmental risks Cinematic Tourist Mobilities
and the Plight of Development 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. 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.
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. Without
disregarding such developmental risks Cinematic Tourist Mobilities
and the Plight of Development 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. 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.
What happens to traditional conceptions of heritage in the era of
fluid media spaces? 'Heritage' usually involves intergenerational
transmission of ideas, customs, ancestral lands, and artefacts, and
so serves to reproduce national communities over time. However,
media industries have the power to transform national lands and
histories into generic landscapes and ideas through digital
reproductions or modifications, prompting renegotiations of
belonging in new ways. Contemporary media allow digital
environments to function as transnational classrooms, creating
virtual spaces of debate for people with access to televised,
cinematic and Internet ideas and networks. This book examines a
range of popular cinematic interventions that are reshaping
national and global heritage, across Europe, Asia, the Americas and
Australasia. It examines collaborative or adversarial articulations
of such enterprise (by artists, directors, producers but also
local, national and transnational communities) that blend activism
with commodification, presenting new cultural industries as fluid
but significant agents in the production of new public spheres.
Heritage in the Digital Era will appeal to students and scholars of
sociology, film studies, tourist studies, globalization theory,
social theory, social movements, human/cultural geography, and
cultural studies.
Only virtuous humans are supposed to move in time to meet their
happy destiny or karma. The tale of Jamal in Slumdog Millionaire is
such a case of serendipitous mobility towards riches and love - a
'journey' in which good heroes and urban communities respecting
solidarity are successfully modernised. Unsurprisingly, the film
became tangled in many controversies around India's destiny in the
world: the film 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. Slumdog Millionaire served as a global
example of a 'developing country's' uneven but unique
modernisation. This book examines such mobilities of ideas, art,
tourism and activism together. In doing so, it reveals the
significance of Mumbai as a post-colonial city in discussions of
modernity - a form of mobile adaptation to new world realities.
Tzanelli examines the various agents involved in controversies
through multiple virtual and real journeys to India's colonial
history and present social complexity, with a view to actualise a
post-colonial future, a 'destiny' as the country's serendipitous
destination. Addressed to interdisciplinary audiences, the book
will be a useful text for students and scholars of globalisation,
mobility, tourism, media and social movement theory.
In June 2014, Brazil opened the twentieth FIFA World Cup with a
spectacular ceremony. Hosting the World Cup was a strategic
developmental priority for Brazil: mega-events such as these allow
the country to be ranked amongst the world's political and economic
leaders, and are supposed to propel the country to its own unique
modernity. But alongside the increased media attention and
publicity, came accusations of governmental 'corruption' and
overspending. In Socio-Cultural Mobility and Mega-Events, Tzanelli
uses Brazil's 2014 World Cup to explore how mega-events articulate
socio-cultural problems. Critically examining the aesthetics and
ethics of mobilities in the mega-event, this book explores these
socio-cultural issues and controversies: the background of staging
mega-events, including the bidding process and the host's
expectations for returns; ceremonial staging and communications
between artistic representations and national symbolism; the clear
reaction mega-events almost always generate in national, regional
and global activist circles, including accusations of overspending
and human rights violations. This interdisciplinary study will
appeal to scholars and students of the sociology of mobility,
sociology of globalisation, cultural sociology, social and
anthropological theory, as well as the sociology of sport, human
and cultural geography, and leisure and tourism studies.
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. 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. 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.
In June 2014, Brazil opened the twentieth FIFA World Cup with a
spectacular ceremony. Hosting the World Cup was a strategic
developmental priority for Brazil: mega-events such as these allow
the country to be ranked amongst the world's political and economic
leaders, and are supposed to propel the country to its own unique
modernity. But alongside the increased media attention and
publicity, came accusations of governmental 'corruption' and
overspending. In Socio-Cultural Mobility and Mega-Events, Tzanelli
uses Brazil's 2014 World Cup to explore how mega-events articulate
socio-cultural problems. Critically examining the aesthetics and
ethics of mobilities in the mega-event, this book explores these
socio-cultural issues and controversies: the background of staging
mega-events, including the bidding process and the host's
expectations for returns; ceremonial staging and communications
between artistic representations and national symbolism; the clear
reaction mega-events almost always generate in national, regional
and global activist circles, including accusations of overspending
and human rights violations. This interdisciplinary study will
appeal to scholars and students of the sociology of mobility,
sociology of globalisation, cultural sociology, social and
anthropological theory, as well as the sociology of sport, human
and cultural geography, and leisure and tourism studies.
Cosmpolitan Memory in Europe's 'Backwaters' reconsiders the
definitional relationships of 'national character' and 'national
heritage' in the context of Western industrial modernity. Taking as
a case study the Greek islands of Skiathos and Skopelos which
served as cinematic locations for the blockbuster Mamma Mia!
(2008), the book explores how national identity - once shaped by
political, cultural and religious practices - can now be reduced to
little more than an ideal, created and sold globally by Western
industries such as tourism and film. Tzanelli argues how the film
encouraged the development of regional competitions that further
enhanced the emotive potential of a Greek nationalist discourse
that projects the blame for regional favouritism onto Western
agents and the nation-state itself. It also takes into
consideration the historical background of this controversy, which
finds roots in the religious heritage of the South-eastern
Mediterranean region - in particular, the notions of Byzantine
Christianity which the Greeks used to set against the Islamic
traditions of their Ottoman colonisers to affirm their European
civility.
What happens to traditional conceptions of heritage in the era of
fluid media spaces? 'Heritage' usually involves intergenerational
transmission of ideas, customs, ancestral lands, and artefacts, and
so serves to reproduce national communities over time. However,
media industries have the power to transform national lands and
histories into generic landscapes and ideas through digital
reproductions or modifications, prompting renegotiations of
belonging in new ways. Contemporary media allow digital
environments to function as transnational classrooms, creating
virtual spaces of debate for people with access to televised,
cinematic and Internet ideas and networks. This book examines a
range of popular cinematic interventions that are reshaping
national and global heritage, across Europe, Asia, the Americas and
Australasia. It examines collaborative or adversarial articulations
of such enterprise (by artists, directors, producers but also
local, national and transnational communities) that blend activism
with commodification, presenting new cultural industries as fluid
but significant agents in the production of new public spheres.
Heritage in the Digital Era will appeal to students and scholars of
sociology, film studies, tourist studies, globalization theory,
social theory, social movements, human/cultural geography, and
cultural studies.
Cosmopolitan Memory in Europe's 'Backwaters' reconsiders the
definitional relationships of 'national character' and 'national
heritage' in the context of Western industrial modernity. Taking as
a case study the Greek islands of Skiathos and Skopelos which
served as cinematic locations for the blockbuster Mamma Mia!
(2008), the book explores how national identity - once shaped by
political, cultural and religious practices - can now be reduced to
little more than an ideal, created and sold globally by Western
industries such as tourism and film. Tzanelli argues how the film
encouraged the development of regional competitions that further
enhanced the emotive potential of a Greek nationalist discourse
that projects the blame for regional favouritism onto Western
agents and the nation-state itself. It also takes into
consideration the historical background of this controversy, which
finds roots in the religious heritage of the South-eastern
Mediterranean region - in particular, the notions of Byzantine
Christianity which the Greeks used to set against the Islamic
traditions of their Ottoman colonisers to affirm their European
civility.
Recent years have seen a radical transformation of conventional
tourist marketing and experience. The use of exotic locations in
Hollywood films has allowed global audiences to enjoy distant
places. Simultaneously, Hollywood screening of potential 'tourist
paradises' has generated new tourist industries around the world.
This book takes a closer look at this new phenomenon of 'cinematic
tourism', combining theory with case studies drawn from four
continents: America, Europe, Asia and Australasia. The author
explores audiences' perceptions of film and their covert
relationship with tourist advertising campaigns, alongside the
nature of newly-born tourist industries and the reaction of native
populations and nation-states faced with the commodification of
their histories, identities and environments.
Recent years have seen a radical transformation of conventional
tourist marketing and experience. The use of exotic locations in
Hollywood films has allowed global audiences to enjoy distant
places. Simultaneously, Hollywood screening of potential 'tourist
paradises' has generated new tourist industries around the world.
This book takes a closer look at this new phenomenon of 'cinematic
tourism', combining theory with case studies drawn from four
continents: America, Europe, Asia and Australasia.
The author explores audiences' perceptions of film and their
covert relationship with tourist advertising campaigns, alongside
the nature of newly-born tourist industries and the reaction of
native populations and nation-states faced with the commodification
of their histories, identities and environments.
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? Mega-Events as Economies of the
Imagination 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. Mega-Events as
Economies of the Imagination 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.
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. 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. 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.
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? Mega-Events as Economies of the
Imagination 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. Mega-Events as
Economies of the Imagination 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.
Only virtuous humans are supposed to move in time to meet their
happy destiny or karma. The tale of Jamal in Slumdog Millionaire is
such a case of serendipitous mobility towards riches and love - a
'journey' in which good heroes and urban communities respecting
solidarity are successfully modernised. Unsurprisingly, the film
became tangled in many controversies around India's destiny in the
world: the film 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. Slumdog Millionaire served as a global
example of a 'developing country's' uneven but unique
modernisation. This book examines such mobilities of ideas, art,
tourism and activism together. In doing so, it reveals the
significance of Mumbai as a post-colonial city in discussions of
modernity - a form of mobile adaptation to new world realities.
Tzanelli examines the various agents involved in controversies
through multiple virtual and real journeys to India's colonial
history and present social complexity, with a view to actualise a
post-colonial future, a 'destiny' as the country's serendipitous
destination. Addressed to interdisciplinary audiences, the book
will be a useful text for students and scholars of globalisation,
mobility, tourism, media and social movement theory.
A ‘new spirit of hospitality’ beckons planetary provenances of
leisure and pleasure, to promote tourism destinations through the
digitization and cinematic advertising of tourist experience. While
releasing identities, populations, and environments from their
geographical and political isolation, this new spirit may rob them
of their ability to communicate cultural diversity on their own
terms. Such changes also affect the professionals who produce
aesthetic renditions of other people’s home territories as
tourist destinations, often feeding into domestic perceptions of
homemaking, with various good and bad consequences for the design
of sustainable planetary futures. Through methodological
elaborations on case studies, Tzanelli explains that we have
entered a new era of tourism and hospitality mobilities dominated
by crises of cultural representation and host presence. Triggered
by the urge to renovate concept design, the crisis leads to a
proliferation of what is just, true, and real, with various
consequences for those interest groups involved in the production
of truthfulness, justice and reality in hospitality and tourism.
The Tourism Security-Safety and Post Conflict Destinations series
provides an insightful guide for policy makers, specialists and
social scientists interested in the future of tourism in a society
where uncertainness, anxiety and fear prevail.
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. 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. 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.
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