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Film Tourism’ in New Durham E-Theses Tripping the light fantastic: exploring the imaginative geographies of Lord of the Rings `lm tourism' in New Zealand FIRNIGL, DANIELLE,ELIZABETH How to cite: FIRNIGL, DANIELLE,ELIZABETH (2009) Tripping the light fantastic: exploring the imaginative geographies of Lord of the Rings `lm tourism' in New Zealand, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/312/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Danielle Firnigl PhD Thesis Tripping the light fantastic: exploring the imaginative geographies of Lord of the Rings ‘film tourism’ in New Zealand Durham University Department of Geography Science Laboratories South Road, Durham DH1 3LE, UK Supervisors: Dr Michael Crang & Dr Paul Harrison Submitted: 2nd July 2009 Abstract: From screen image to imagined spaces, the Lord of the Rings film-tourism experience – that is, tourism to New Zealand apparently motivated by the popular film trilogy which was filmed there – has received much anecdotal attention, yet little scholarly examination. In particular, how tourists are affected by the “you’ve seen the movie, now visit the set!” adage, remains under-examined. Whilst sociologies of tourism tend to emphasize the visual, spectatorial and passive nature of mediated forms of tourism, actual experiences of visiting the former film sets tend to challenge such theorizations of the phenomenon. In fact, what we find in New Zealand is a touristic landscape marked only by its absences and virtualities- little remains to show of ‘Middle-earth on earth’, leaving us with the question of what it is that, as tourists, we actually consume, and on what basis the apparently visual causality of cinematic tourism can be sustained. This research thus employs recent scholarship in cultural geography attuned to the more-than-representational and affective realms, in order to build a conceptually novel approach to thinking through ‘the film- tourist’. Rather than starting out from a position of critique, such an approach seeks to explore the ‘operational logics’ of tourist experience, how meaning is made through practices of popular culture consumption and tourism. Through a consideration of how tourists navigate these complex cinematic spaces, we find that visitors – both those who are fans or enthusiasts of The Lord of the Rings, and those who are simply ‘doing a rings thing’ as part of a broader touristic itinerary – engage in a range of animated practices, that demonstrate both an awareness of these multiply-mediated spaces, and an interest not only in ‘walking in the footsteps’ of Frodo and the fellowship, but also in the ‘backstage’ of the films’ production, and the very creation of ‘Middle earth- on earth’ in New Zealand. Acknowledgements: “Some people feel Imagination isn't real But I tell them that they're wrong Cause whenever I Want to play and pretend, I just sing the imagination song” (The Mayor of Imagination-Land; South Park 2008) “The imaginary is not ‘shameful’ in its essence. It only appears shameful to philosophy” (Gibson, 1996: 2) In the words of Avery Gordon, and also very much in the spirit of Frodo Baggin’s epic quest; “this has been a massive project, very treacherous, very fragile” (1997: 6). I owe its completion very much to the unrelenting support of my husband Andreas, who was always there, taking care of me, and always believing in me. Thank you. A deep gratitude also to all the Tolkienites who enthusiastically contributed to this project. Many thanks also to all the individuals and companies who shared their expert knowledge with me and allowed me access to their tours and attractions; to my supervisors and support staff in the geography department; and of course to all my family and friends who have put up with me, and helped me through this rather protracted process. For Andreas, and our beautiful daughter Eva Simone. Table of contents: Chapter One: Setting the scene- mediating the nexus of film, tourism and landscape... 1 Introduction: Welcome to ‘Middle-earth on earth’ ..........................................................................1 Traversing the world of mediated tourism....................................................................................17 Braveheart (1995) .................................................................................................................... 21 Field of Dreams (1989) ............................................................................................................ 23 Harry Potter (2001-) ................................................................................................................. 25 Situating ‘The Lord of the Rings’ and film tourism in New Zealand.............................................28 Finding our fan tourist .............................................................................................................. 32 Mapping the cinematic terrain..................................................................................................37 Narrating the encounter ........................................................................................................... 46 Myths and mythmaking in New Zealand......................................................................................49 Researching The Lord of the Rings film-tourism in New Zealand- theoretical approaches ........ 60 Non-representational theory and cultural geographies of tourism...........................................60 Performativity, affect and embodiment ....................................................................................61 Materiality................................................................................................................................. 64 Conclusion ...................................................................................................................................65 Chapter Two: Methodology- auto-ethnography, reflexivity, fandom ............................... 66 A quest of my own ....................................................................................................................... 66 Ethnography, film-induced tourism and enthusiast audiences ....................................................70 Research methods and practice: an ethnography of Lord of the Rings film-tourists...................76 Locating the audience, defining the field .................................................................................76 Participant observation- organised tours .................................................................................79 Employing enthusiasts: online research methods ...................................................................82 Doing visual ethnography ........................................................................................................93 (Un)comfortable narratives: being a tourist-ethnographer...........................................................95 Conclusion- doing justice...........................................................................................................103 Chapter Three: Scorned pleasures- fantasy fandom and film-tourism.......................... 105 Introduction ................................................................................................................................105 A matter of taste: the pathologization of F/fantasy ....................................................................108 In search of the Ringer: the mythical fan in Middle-earth ..........................................................117 On film safari: the scenic tour in Middle-earth .......................................................................117 Join your own fellowship: Red Carpet Tours .........................................................................124 (In)conspicuous leisure: an emotional geography of Lord of the Rings tourism.......................135 Conclusion .................................................................................................................................138 Chapter Four: Space, movement, narrative- mapping the imagined geographies of ‘Middle- earth on earth’ ...................................................................................................................... 140 Introduction ................................................................................................................................141 New Zealand ‘as’ Middle-earth: imagined/ contested geographies...........................................143 Mapping Middle-earth: navigating cinematic space...................................................................152 Producing Middle-earth: constructing space on the guided tour ...............................................162 Travel Diaries: narrative transformation, spatial drifting ............................................................170
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