![]() ![]() My ethnographic eye is examined as constitutive of this flanerie, especially since I grew up in Thessaloniki. The staging suggests an ‘Oriental’ tourist-like flaˆnerie that matches, and is directed towards the cafe´’s physical and symbolic surroundings (notably, the Turkish Consulate, the adjacent paternal house of Turkey’s first President, Kemal Atatu¨rk, but also the old part of the city, historically populated by Greek refugees from Anatolian Turkey). The article examines how Prigipos, a cafe´ in the northern Greek city of Thessaloniki, communicates Greek cosmological themes through the way it ‘stages’ urban memories. Key words culture industry film Greece Orientalism ‘otherness’ Tourism The contexts of late capitalist economy in which such discourses are mobilized invite scholars to examine affiliations between the tourist and the culture industries. An overall conclusion will suggest that most of these representations appeared in past Orientalist discourses. The chosen subject areas include representations of Mediterranean habitus, the uses of Greek landscape and folk culture and the strong association between historical narrative and stereotyping. The theoretical trajectory of the analysis comprises a combination of Marxist theory and cultural studies. It also looks at film reviews and other texts to reflect critically on its reception by an international audience, and its relationship with the tourist industry. The present article explores Hollywood narrations of Neohellenic and Mediterranean identity through a relatively recent film adaptation of Captain Corelli’s Mandolin by Louis de Bernières. Including these groups helps us displace normative constructions of the gaze, and situates The Beach within an interpretive field that considers networks of influence rather than unidirectional representation. Yet these practices extend beyond the western film viewer or would-be tourist, and include Thai environmental activists, Japanese Di Caprio fans and researchers such as ourselves. In this way, film viewing itself may be understood as a form of tourism - a kind of tropical flânerie which both reflects and constitutes a range of tourist practices in Thailand. In particular, we seek to elaborate the modification of the Maya Bay set(ting) for The Beach as part a broader process whereby `tropical environments' are staged in line with the `tourist gaze'. In this article, we are concerned with how such intertwining extends beyond `film tourism', conventionally conceived. ![]() Yet the movie is itself bound up with tourist practices in a variety of ways. Based on the book by Alex Garland, Twentieth Century Fox's movie, The Beach, proffers critical views on the effects of traveller tourism in Thailand. ![]()
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