Photographs create visual narratives of experiences, places, peoples and objects that collectively and individually comprise the tourist gaze. Photography is acknowledged as having an important role in the determining of places and spaces, the construction and re-construction of identities, and the invention and re-invention of histories. So why do tourists take photos of certain things and not of others? Why do tourists take photos at all? How do photos build places, how do they change and shape lives? An interdisciplinary team of contributors from across the globe explore such questions as they examine the relationships between photography and tourism and tourists.
Table of Contents
Contents: Moments, magic and memories: photographing tourists, tourist photographs and making worlds, Mike Robinson and David Picard; Imaging and imagining Pueblo people in Northern New Mexico tourism, Matthew J. Martinez and Patricia C. Albers; Ancient Greek theatres as visual images of Greekness, Vassiliki Lalioti; The accidental tourist: NGOs, photography, and the idea of Africa, Brian Cohen and Ilyssa Manspeizer; The bulimic consumption of pygmies: regurgitating an image of otherness, Stan Frankland; Photographing race: the discourse and performance of tourist stereotypes, Elvi Whittaker; From images to imaginaries: tourist advertisements and the conjuring of reality, Teresa E.P. Delfin; The camera as global vampire: the distorted mirror of photography in remote Indonesia and elsewhere, Janet Hoskins; Re-viewing the past: discourse and power in images of prehistory, Andy Letcher, Jenny Blain and Robert J. Wallis; Entwined histories: photography and tourism at the Great Barrier Reef, Celmara Pocock; The embodiment of sociability through the tourist camera, Joyce Hsiu-yen Yeh; Disposable camera snapshots: interviewing tourists in the field, Elisabeth Brandin; Connecting cultural identity and place through tourist photography: American Jewish youth on a first field trip to Israel, Rebekah Sobel; The purloined eye: revisiting the tourist gaze from a phenomenological perspective, Marie-FranÃ§oise Lanfant; Index.
Mike Robinson is Professor, Chair of Cultural Heritage, University of Birmingham, UK and David Picard is Senior Research Fellow at CRIA-New University of Lisbon, Portugal
'Given the ubiquity of tourist photography, it is surprising that so little scholarly attention has been dedicated to this subject. The Framed World fills the gap. Like tourism itself, this volume travels the globe, with cases ranging from Taiwan and New Mexico to Greece and Indonesia, and spans the entire history of photography. A most welcome addition to the "new tourist studies", thanks to the volume's attention to photography as a social practice.' Barbara Kirshenblatt-Gimblett, author of Destination Culture: Tourism, Museums, and Heritage 'Ranging from the methodological to the historical, via the anthropological and philosophical, this volume presents cross-disciplinary approaches with which to read off the many layers in the palimpsest of each tourist site considered. It presents a strong analysis of the particularly neglected area of tourists' photographs, and the photography of tourism.' Marcus Banks, University of Oxford, UK 'The book consists of 14 essays intertwining a number of disciplines, from the most obvious ones of tourism studies and photography (both professional and amateur image-making), to anthropology, history, psychology, cultural studies, and even theology and music. It is the richness of the dialogue between these, combined with the ubiquity of the practices described, that makes the publication intriguing and accessible.' The Times Higher Education ’Recommended. All levels/libraries.’ Choice 'Reading this book not only provides us with a lot ofuseful and rich materials for photography and tourism study, but also privately makes us realise that every time we are taking photographs, actually, we are also taking part in the social practice of representing the world.' European Spatial Research and Policy 'This volume re-kindles questions such as whether the seat of power in photography lies in the act, the technology, the photographer, the photographed, its audience or even a combination of these. Is a photograph inherently powerful