This study contributes to the body of work on media tourism by shifting attention from destinations to how we get there. In doing so, I am responding to Pritchard and Morgan’s (2005: 299) call for “explorations of the intimate relationships between travel, fashion, dress, the body and sociocultural constructions of place”. Specifically, I am interested in examining transmedia celebrity discourse as a cultural resource for the imagining and planning of tourism. Focusing on Pinterest images of celebrities in airports, I analyse how the labour of travelling is concealed through images of celebrity bodies that are beautiful, glamorous, wealthy, calm and comfortable, rather than sweaty, tired, rushed or bored. My discussion draws on Wilson and Yochim (2015) to reflect on how the pinned images offer a “promise of happiness” (Ahmed 2010) within a feminised digital space that addresses users as creative consumer-researchers who search for and catalogue inspiration. Here, happiness is not just promised by the tourist destination, but by the possibility of making the journey itself pleasurable. The photographed celebrity bodies become sites of identification and inspiration, demonstrating that this goal can be achieved through careful planning, consumption and self-discipline. I approach the analysis of this networked practice by drawing together literature from a diverse range of fields, including the study of tourism, transport, consumption, celebrities, digital cultures and affect theory.
{"title":"Travel style on Pinterest: Celebrity bodies as sites of labour and inspiration","authors":"Inger-Lise Kalviknes Bore","doi":"10.18573/jomec.180","DOIUrl":"https://doi.org/10.18573/jomec.180","url":null,"abstract":"This study contributes to the body of work on media tourism by shifting attention from destinations to how we get there. In doing so, I am responding to Pritchard and Morgan’s (2005: 299) call for “explorations of the intimate relationships between travel, fashion, dress, the body and sociocultural constructions of place”. Specifically, I am interested in examining transmedia celebrity discourse as a cultural resource for the imagining and planning of tourism. Focusing on Pinterest images of celebrities in airports, I analyse how the labour of travelling is concealed through images of celebrity bodies that are beautiful, glamorous, wealthy, calm and comfortable, rather than sweaty, tired, rushed or bored. My discussion draws on Wilson and Yochim (2015) to reflect on how the pinned images offer a “promise of happiness” (Ahmed 2010) within a feminised digital space that addresses users as creative consumer-researchers who search for and catalogue inspiration. Here, happiness is not just promised by the tourist destination, but by the possibility of making the journey itself pleasurable. The photographed celebrity bodies become sites of identification and inspiration, demonstrating that this goal can be achieved through careful planning, consumption and self-discipline. I approach the analysis of this networked practice by drawing together literature from a diverse range of fields, including the study of tourism, transport, consumption, celebrities, digital cultures and affect theory.","PeriodicalId":87289,"journal":{"name":"JOMEC journal : journalism, media and cultural studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42818496","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article proposes the concept of transmedia tourism as a term that can account for the ever-increasing intersections between the ‘experience economy’ (Pine and Gilmore 2011), convergence culture (Jenkins 2006) and the tourism sector. Transmedia tourism therefore involves examining the variety of forms of spatialized experiences derived from media properties alongside the myriad ways in which digital media technologies is being incorporated into these practices. The concept arises out of and builds upon critiques of existing terminology for studying media tourism offered by Sue Beeton (2005) and Maria Mansson (2011). Key arguments include exploring the opportunities for world-building offered by different attractions and mapping the intertextual spread of transmedia content into the tourism sector across both virtual and physical spaces and official, unofficial and unsanctioned contexts. These arguments are developed further through a case study of the Disney-Pixar franchise Finding Nemo (Santon and Unkrich, 2003; Stanton, 2016) which addresses how this has spawned spatial experiences and intertextual references across multiple tourism-coded attractions. Arising out of this analysis, suggestions concerning avenues for future research are also identified. These include examining both the relationship between transmedia content flows and mediatization (Couldry 2014) and providing greater discussion of the relationship between copyright negotiation and tourism attractions which make either implicit or explicit references to media iconography. In summary, the article argues that studying transmedia tourism can enable hitherto overlooked issues such as the relationships between world-building, technology, intertextuality and ownership to be better understood in both transmedia and media tourism research
本文提出了跨媒体旅游的概念，作为一个术语，可以解释“体验经济”(Pine and Gilmore 2011)、融合文化(Jenkins 2006)和旅游部门之间日益增加的交集。因此，跨媒体旅游涉及考察各种形式的空间化体验，这些体验来自媒体属性，以及数字媒体技术被纳入这些实践的无数方式。这一概念源于并建立在Sue Beeton(2005)和Maria Mansson(2011)对现有媒体旅游研究术语的批评之上。主要论点包括探索不同景点提供的世界建设机会，并将跨媒体内容的互文传播映射到虚拟和物理空间以及官方，非官方和未经批准的背景下的旅游部门。通过对迪士尼-皮克斯系列电影《海底总动员》(Santon and Unkrich, 2003;Stanton, 2016)，阐述了这如何在多个旅游编码景点之间产生空间体验和互文参考。根据这一分析，还确定了有关未来研究途径的建议。这包括研究跨媒体内容流和媒体化之间的关系(Couldry 2014)，并对版权谈判和旅游景点之间的关系进行更深入的讨论，这些关系或隐或明地提到了媒体图像学。总之，本文认为，研究跨媒体旅游可以使迄今为止被忽视的问题，如世界建设、技术、互文性和所有权之间的关系，在跨媒体和媒体旅游研究中得到更好的理解
{"title":"Finding Nemo’s Spaces: Defining and Exploring Transmedia Tourism","authors":"R. Garner","doi":"10.18573/jomec.195","DOIUrl":"https://doi.org/10.18573/jomec.195","url":null,"abstract":"This article proposes the concept of transmedia tourism as a term that can account for the ever-increasing intersections between the ‘experience economy’ (Pine and Gilmore 2011), convergence culture (Jenkins 2006) and the tourism sector. Transmedia tourism therefore involves examining the variety of forms of spatialized experiences derived from media properties alongside the myriad ways in which digital media technologies is being incorporated into these practices. The concept arises out of and builds upon critiques of existing terminology for studying media tourism offered by Sue Beeton (2005) and Maria Mansson (2011). Key arguments include exploring the opportunities for world-building offered by different attractions and mapping the intertextual spread of transmedia content into the tourism sector across both virtual and physical spaces and official, unofficial and unsanctioned contexts. These arguments are developed further through a case study of the Disney-Pixar franchise Finding Nemo (Santon and Unkrich, 2003; Stanton, 2016) which addresses how this has spawned spatial experiences and intertextual references across multiple tourism-coded attractions. Arising out of this analysis, suggestions concerning avenues for future research are also identified. These include examining both the relationship between transmedia content flows and mediatization (Couldry 2014) and providing greater discussion of the relationship between copyright negotiation and tourism attractions which make either implicit or explicit references to media iconography. In summary, the article argues that studying transmedia tourism can enable hitherto overlooked issues such as the relationships between world-building, technology, intertextuality and ownership to be better understood in both transmedia and media tourism research","PeriodicalId":87289,"journal":{"name":"JOMEC journal : journalism, media and cultural studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48230054","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This Editorial sketches out some initial contexts and parameters for the concept of transmedia tourism – the academic neologism which the articles in this Special Issue explore in greater detail. It is argued that transmedia tourism should be understood as a historical term whose emergence is intertwined with both theories of convergence culture (Jenkins 2006) and the experience economy (Pine and Gilmore 1998). The Editorial also reflects upon the methodologies used for exploring transmedia tourism throughout the Special Issue, offering reflections on and dismissals of objections to autoethnography as a way of studying how mediated spaces are experienced from an anthropologicalperspective.
{"title":"Transmedia Tourism editorial","authors":"R. Garner","doi":"10.18573/jomec.194","DOIUrl":"https://doi.org/10.18573/jomec.194","url":null,"abstract":"This Editorial sketches out some initial contexts and parameters for the concept of transmedia tourism – the academic neologism which the articles in this Special Issue explore in greater detail. It is argued that transmedia tourism should be understood as a historical term whose emergence is intertwined with both theories of convergence culture (Jenkins 2006) and the experience economy (Pine and Gilmore 1998). The Editorial also reflects upon the methodologies used for exploring transmedia tourism throughout the Special Issue, offering reflections on and dismissals of objections to autoethnography as a way of studying how mediated spaces are experienced from an anthropologicalperspective.","PeriodicalId":87289,"journal":{"name":"JOMEC journal : journalism, media and cultural studies","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42352459","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper analyzes the Rickmobile as a site of mobile media pilgrimage and fan tourist destination. The Rickmobile is a mobile, pop-up merchandise car themed and designed around eponymous Rick Sanchez from the cult cartoon Rick and Morty. As a material fan object and as an object of fan tourism, the Rickmobile becomes a site of overlapping discourses surrounding the historical context of cult merchandising, media pilgrimage, and social media ‘pre-textual’ fan reporting (Hills 2015b). At the same time, it problematizes traditional fan studies’ examinations of active and passive fan labor. This paper argues that the Rickmobile functions as a pseudo transmedia extension, allowing fans to create one type of active Rick and Morty fan experience, but to be used as a different type of passive industrial Rick and Morty experience.
{"title":"When Tourism Comes to You (But You Still Have to Go Get It, Dawg): The Rickmobile and Transmedia Tourism/Fandom","authors":"P. Booth","doi":"10.18573/jomec.177","DOIUrl":"https://doi.org/10.18573/jomec.177","url":null,"abstract":"This paper analyzes the Rickmobile as a site of mobile media pilgrimage and fan tourist destination. The Rickmobile is a mobile, pop-up merchandise car themed and designed around eponymous Rick Sanchez from the cult cartoon Rick and Morty. As a material fan object and as an object of fan tourism, the Rickmobile becomes a site of overlapping discourses surrounding the historical context of cult merchandising, media pilgrimage, and social media ‘pre-textual’ fan reporting (Hills 2015b). At the same time, it problematizes traditional fan studies’ examinations of active and passive fan labor. This paper argues that the Rickmobile functions as a pseudo transmedia extension, allowing fans to create one type of active Rick and Morty fan experience, but to be used as a different type of passive industrial Rick and Morty experience.","PeriodicalId":87289,"journal":{"name":"JOMEC journal : journalism, media and cultural studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46489007","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper investigates the relationship between the fans and fandom of 1960s cult television favorite The Prisoner and its main filming location of Portmeirion in north Wales. Specifically, it explores the way in which Portmeirion has been utilized as a paratext of The Prisoner, a way in which to expand the experience and understanding of the show, and what this suggests about film tourism as a practice. It does so via an ethnographic approach, drawing upon 16 interviews with fans of The Prisoner who are regular visitors to Portmeirion, participatory observation in Portmeirion, and analysis of fan texts. Through these methods, it is shown how Prisoner fans develop their paratextual understanding of Portmeirion, exploring what elements from the narratives of the show, the show’s creation, and Portmeirion’s story are utilized, and how this has worked over time as fans make visiting a regular part of their lives. In doing so, it shows not only how place and tourism have become integral to understanding The Prisoner for many of its long-term fans, but suggests that filming locations can be more generally thought of as "unintentional" (as in, not designed for the purpose) paratexts, and that paratextual theory is necessary for understanding what film tourism as a practice is.
{"title":"“I Don’t Think the Two Would Be the Same Without Each Other”: Portmeirion as Unintentional Paratext","authors":"A. Waysdorf","doi":"10.18573/jomec.178","DOIUrl":"https://doi.org/10.18573/jomec.178","url":null,"abstract":"This paper investigates the relationship between the fans and fandom of 1960s cult television favorite The Prisoner and its main filming location of Portmeirion in north Wales. Specifically, it explores the way in which Portmeirion has been utilized as a paratext of The Prisoner, a way in which to expand the experience and understanding of the show, and what this suggests about film tourism as a practice. It does so via an ethnographic approach, drawing upon 16 interviews with fans of The Prisoner who are regular visitors to Portmeirion, participatory observation in Portmeirion, and analysis of fan texts. Through these methods, it is shown how Prisoner fans develop their paratextual understanding of Portmeirion, exploring what elements from the narratives of the show, the show’s creation, and Portmeirion’s story are utilized, and how this has worked over time as fans make visiting a regular part of their lives. In doing so, it shows not only how place and tourism have become integral to understanding The Prisoner for many of its long-term fans, but suggests that filming locations can be more generally thought of as \"unintentional\" (as in, not designed for the purpose) paratexts, and that paratextual theory is necessary for understanding what film tourism as a practice is.","PeriodicalId":87289,"journal":{"name":"JOMEC journal : journalism, media and cultural studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44256154","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Fan studies has explored the concepts of ‘film-induced tourism’ (Beeton 2005, 2015) or ‘media tourism’ via the notions of cult geography (Hills 2002) or fan pilgrimage (Porter 1999), arguing that “fan-text affective relationships cannot be separated from spatial concerns and categories” (Hills 2002:145). This article contributes to work on fan tourism and participatory cultures by focusing on a visit to Florence, Italy which was inspired by fandom of the television series Hannibal. The article discusses three main elements of this trip, reflecting on the experience of the author during that visit, to interrogate the links between transmediality and participatory culture, fandom and tourism. First, the article considers how Hannibal’s status as a transmedia text which spans the television series but also a series of novels and film adaptations, leads the fan-tourist to negotiate these different ‘versions’ of Florence. Whilst some places may be doubly coded as tourist and media sites or operate as special locations for different fans (see Lee 2012, Brooker 2007) previous work discussing this has focused on the variances between different texts. In the case of Hannibal, however, fan-tourists must negotiate the layering of various versions of the same story/text across the city, seeking out multiple real-world sites that have been used within the books/films/TV series. Locations thus become multi-coded and fans may operate their own distinctions regarding which version of the story, and therefore which Hannibal locations, are the most privileged and worth visiting. Second, the article explores how elements of participatory culture were utilised in the planning of the trip, drawing on existing fan knowledge of locations which is shared online. Since there is currently no formal organised Hannibal-related tourism industry in Florence, the fan-tourist needs to seek out their own locations and routes through the city, although these may be “mediated by the testimonies, amateur and professional, of previous fans” (Brooker 2004:27). The article focuses particularly on how ‘screenframing’, the practice of visiting “filming locations of […] favourite shows and movies, and try[ing] to align a screenshot from that film with the original background used in the film” (FangirlQuest, online) was used to identify key Hannibal locations and as a guide for engaging in attempted replication of photographs and iconic moments from the series. Drawing on this, the article uniquely explores the use of para-textual object such as merchandise in the fan-tourist experience, focusing on the use of a Hannibal Funko doll as an object of fandom on this visit to Florence. Carrying this item around sites of importance and inserting this object into photographs at key locations allows fan identities to be performed and displayed and for the links between the narrative world and the ‘real’ locations to be mediated. The article thus contributes to debates around fan-tourism
{"title":"Funko Hannibal in Florence: Fan Tourism, Participatory Culture, and Paratextual Play","authors":"Rebecca Williams","doi":"10.18573/jomec.179","DOIUrl":"https://doi.org/10.18573/jomec.179","url":null,"abstract":"Fan studies has explored the concepts of ‘film-induced tourism’ (Beeton 2005, 2015) or ‘media tourism’ via the notions of cult geography (Hills 2002) or fan pilgrimage (Porter 1999), arguing that “fan-text affective relationships cannot be separated from spatial concerns and categories” (Hills 2002:145). This article contributes to work on fan tourism and participatory cultures by focusing on a visit to Florence, Italy which was inspired by fandom of the television series Hannibal. The article discusses three main elements of this trip, reflecting on the experience of the author during that visit, to interrogate the links between transmediality and participatory culture, fandom and tourism. \u0000 \u0000First, the article considers how Hannibal’s status as a transmedia text which spans the television series but also a series of novels and film adaptations, leads the fan-tourist to negotiate these different ‘versions’ of Florence. Whilst some places may be doubly coded as tourist and media sites or operate as special locations for different fans (see Lee 2012, Brooker 2007) previous work discussing this has focused on the variances between different texts. In the case of Hannibal, however, fan-tourists must negotiate the layering of various versions of the same story/text across the city, seeking out multiple real-world sites that have been used within the books/films/TV series. Locations thus become multi-coded and fans may operate their own distinctions regarding which version of the story, and therefore which Hannibal locations, are the most privileged and worth visiting. \u0000 \u0000Second, the article explores how elements of participatory culture were utilised in the planning of the trip, drawing on existing fan knowledge of locations which is shared online. Since there is currently no formal organised Hannibal-related tourism industry in Florence, the fan-tourist needs to seek out their own locations and routes through the city, although these may be “mediated by the testimonies, amateur and professional, of previous fans” (Brooker 2004:27). The article focuses particularly on how ‘screenframing’, the practice of visiting “filming locations of […] favourite shows and movies, and try[ing] to align a screenshot from that film with the original background used in the film” (FangirlQuest, online) was used to identify key Hannibal locations and as a guide for engaging in attempted replication of photographs and iconic moments from the series. \u0000 \u0000Drawing on this, the article uniquely explores the use of para-textual object such as merchandise in the fan-tourist experience, focusing on the use of a Hannibal Funko doll as an object of fandom on this visit to Florence. Carrying this item around sites of importance and inserting this object into photographs at key locations allows fan identities to be performed and displayed and for the links between the narrative world and the ‘real’ locations to be mediated. The article thus contributes to debates around fan-tourism ","PeriodicalId":87289,"journal":{"name":"JOMEC journal : journalism, media and cultural studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48274402","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The 2016 Society for Cinema and Media Studies conference took place in Atlanta. Historically important for the Civil Rights movement, the city is home to the Martin Luther King, Jr. National Historic Site, but as an emerging hub for film and television production Atlanta is also home to various studios, location tours, and other sites for fan tourism. I attended SCMS 2016 because of the scholarship, but visiting Atlanta meant I was able to spend a day on the Atlanta Movie Tours’ ‘Big Zombie’ tours. The tours feature locations from The Walking Dead in and around Atlanta, and are led by actors from the show. The tours thus provide fans access to behind-the-scenes stories and information, as well as exclusive access to locations, and opportunities to ‘re-enact’ key scenes. In this paper I document my experience of the tours as both fan and academic. I began the tour from a purely fannish perspective, excited to see locations and hear stories, but during the tour I found it difficult to halt academic analysis of this particular form of transmedia tourism. The actors leading the tour spoke of the ‘AMC family’ while noting how they were instructed not to speak to primary cast members, and clips from the show played inside the tour bus before we disembarked to view them in their ‘real’ (rather than fictional) Atlanta context. I thus experienced a sense of dissonance from, rather than immersion in, the world of The Walking Dead, and suggest that this sense of liminality is currently underexplored in analyses of transmedia tourism, where transmediality is assumed to bring the tourist deeper into the storyworld, rather than highlighting their divergence from it.
{"title":"\"The Walking Dead Family is a real thing, not just a hashtag\": Experiencing Fan Tourism and Transmediality in Woodbury, Atlanta","authors":"Bethan Jones","doi":"10.18573/jomec.191","DOIUrl":"https://doi.org/10.18573/jomec.191","url":null,"abstract":"The 2016 Society for Cinema and Media Studies conference took place in Atlanta. Historically important for the Civil Rights movement, the city is home to the Martin Luther King, Jr. National Historic Site, but as an emerging hub for film and television production Atlanta is also home to various studios, location tours, and other sites for fan tourism. I attended SCMS 2016 because of the scholarship, but visiting Atlanta meant I was able to spend a day on the Atlanta Movie Tours’ ‘Big Zombie’ tours. The tours feature locations from The Walking Dead in and around Atlanta, and are led by actors from the show. The tours thus provide fans access to behind-the-scenes stories and information, as well as exclusive access to locations, and opportunities to ‘re-enact’ key scenes. In this paper I document my experience of the tours as both fan and academic. I began the tour from a purely fannish perspective, excited to see locations and hear stories, but during the tour I found it difficult to halt academic analysis of this particular form of transmedia tourism. The actors leading the tour spoke of the ‘AMC family’ while noting how they were instructed not to speak to primary cast members, and clips from the show played inside the tour bus before we disembarked to view them in their ‘real’ (rather than fictional) Atlanta context. I thus experienced a sense of dissonance from, rather than immersion in, the world of The Walking Dead, and suggest that this sense of liminality is currently underexplored in analyses of transmedia tourism, where transmediality is assumed to bring the tourist deeper into the storyworld, rather than highlighting their divergence from it.","PeriodicalId":87289,"journal":{"name":"JOMEC journal : journalism, media and cultural studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47358413","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Cinema struggles with the representation of inner-speech and thought in a way that is less of a problem for literature. Film also destabilises the notion of the narrator, be they omniscient, unreliable or first-person. In this article I address the peculiar and highly unsuccessful cinematic innovation which we can call the ‘first-person camera’ or ‘first-person’ film. These are films in which the camera represents not just the point-of-view of a character but is meant to be understood as that character. Very few such films have been made, and I will concentrate on the way in which speech and thought are presented in Lady in the Lake (Robert Montgomery, 1947) and Dark Passage (Delmer Daves, 1947). I use Jacques Derrida’s critique of the idea of ‘hearing oneself speak’ and phenomenology’s dream of direct experience to explore the generally understood failure of such films and conclude by considering the implications of such a technique for a homunculus theory of mind.
{"title":"Seeing Oneself Speak: Speech and Thought in First-Person Cinema","authors":"D. Sorfa","doi":"10.18573/JOMEC.185","DOIUrl":"https://doi.org/10.18573/JOMEC.185","url":null,"abstract":"Cinema struggles with the representation of inner-speech and thought in a way that is less of a problem for literature. Film also destabilises the notion of the narrator, be they omniscient, unreliable or first-person. In this article I address the peculiar and highly unsuccessful cinematic innovation which we can call the ‘first-person camera’ or ‘first-person’ film. These are films in which the camera represents not just the point-of-view of a character but is meant to be understood as that character. Very few such films have been made, and I will concentrate on the way in which speech and thought are presented in Lady in the Lake (Robert Montgomery, 1947) and Dark Passage (Delmer Daves, 1947). I use Jacques Derrida’s critique of the idea of ‘hearing oneself speak’ and phenomenology’s dream of direct experience to explore the generally understood failure of such films and conclude by considering the implications of such a technique for a homunculus theory of mind.","PeriodicalId":87289,"journal":{"name":"JOMEC journal : journalism, media and cultural studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49143183","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In recent years, film scholars have been increasingly preoccupied with questions as to how films can ‘be’ or ‘do’ or ‘be used for’ philosophy. From the ‘be used for’ position, films are seen as mere examples or jumping-off points to philosophy ‘proper’; from the ‘be’ position, films are seen as philosophy, as simply another form of philosophical argumentation; and from the ‘do’ position, films are seen as examples or illustrations of preexisting philosophical positions/protocols. In this essay, I will operate primarily from the ‘do’ position and explore how Quentin Tarantino ‘does’ ordinary language philosophy. Renowned for his innovative and influential dialogue, I intend to shine a light on a neglected aspect of Tarantino’s writing style and examine, with reference to the work of ordinary language philosophers such as Ludwig Wittgenstein, J.L. Austin, and Stanley Cavell, the argumentative protocols discernible in Pulp Fiction (1994). More specifically, I will analyze the famous ‘foot massage argument’, utilizing such concepts as ‘projective imagination’ and ‘explaining the syntactics’ versus ‘demonstrating the semantics’, in the hopes of indicating the fecundity of the continued study of Tarantino’s justly famous dialogue. I also intend to broaden my investigation to consider, in light of responses to this material during the IFVCR Network conference and in light of current discussions within film studies, the disciplinary implications vis-a-vis film-philosophy of conducting such ordinary language investigations of dialogue and communication in film.
{"title":"‘English, motherfucker, do you speak it?’ Pulp Fiction and the Future of Film-Philosophy","authors":"Kyle Barrowman","doi":"10.18573/JOMEC.183","DOIUrl":"https://doi.org/10.18573/JOMEC.183","url":null,"abstract":"In recent years, film scholars have been increasingly preoccupied with questions as to how films can ‘be’ or ‘do’ or ‘be used for’ philosophy. From the ‘be used for’ position, films are seen as mere examples or jumping-off points to philosophy ‘proper’; from the ‘be’ position, films are seen as philosophy, as simply another form of philosophical argumentation; and from the ‘do’ position, films are seen as examples or illustrations of preexisting philosophical positions/protocols. In this essay, I will operate primarily from the ‘do’ position and explore how Quentin Tarantino ‘does’ ordinary language philosophy. Renowned for his innovative and influential dialogue, I intend to shine a light on a neglected aspect of Tarantino’s writing style and examine, with reference to the work of ordinary language philosophers such as Ludwig Wittgenstein, J.L. Austin, and Stanley Cavell, the argumentative protocols discernible in Pulp Fiction (1994). More specifically, I will analyze the famous ‘foot massage argument’, utilizing such concepts as ‘projective imagination’ and ‘explaining the syntactics’ versus ‘demonstrating the semantics’, in the hopes of indicating the fecundity of the continued study of Tarantino’s justly famous dialogue. I also intend to broaden my investigation to consider, in light of responses to this material during the IFVCR Network conference and in light of current discussions within film studies, the disciplinary implications vis-a-vis film-philosophy of conducting such ordinary language investigations of dialogue and communication in film.","PeriodicalId":87289,"journal":{"name":"JOMEC journal : journalism, media and cultural studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47502659","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article, I propose a reading of Jim Jarmusch’s Dead Man (1995) in light of Jacques Derrida’s observations on the axiological binary opposition of speech and writing. I argue that the relationship between the two is artistically explored in the opening scene where the accountant William Blake (Johnny Depp) meets the fireman (Crispin Glover) on the train to the town of Machine. I interpret Depp’s protagonist as the representative of writing and Glover’s fireman as the representative of speech. Demonstrating how the attributes that, through the long history of Western metaphysics, have been ascribed to writing are manifested by the main character of the film, I analyse a subtle personification of the written word on screen. I contend that Dead Man is a deconstructive text not only because it deconstructs the genre of the Western and the narrative of the West but also in the sense that it offers a critique of logocentrism and Western metaphysics.
{"title":"‘I wouldn’t trust no words written down on no piece of paper’: Jim Jarmusch’s Dead Man, Jacques Derrida and the Critique of Logocentrism","authors":"Kazakeviciute Evelina","doi":"10.18573/JOMEC.184","DOIUrl":"https://doi.org/10.18573/JOMEC.184","url":null,"abstract":"In this article, I propose a reading of Jim Jarmusch’s Dead Man (1995) in light of Jacques Derrida’s observations on the axiological binary opposition of speech and writing. I argue that the relationship between the two is artistically explored in the opening scene where the accountant William Blake (Johnny Depp) meets the fireman (Crispin Glover) on the train to the town of Machine. I interpret Depp’s protagonist as the representative of writing and Glover’s fireman as the representative of speech. Demonstrating how the attributes that, through the long history of Western metaphysics, have been ascribed to writing are manifested by the main character of the film, I analyse a subtle personification of the written word on screen. I contend that Dead Man is a deconstructive text not only because it deconstructs the genre of the Western and the narrative of the West but also in the sense that it offers a critique of logocentrism and Western metaphysics.","PeriodicalId":87289,"journal":{"name":"JOMEC journal : journalism, media and cultural studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42640064","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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