View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ResearchArchive at Victoria University of Wellington From Tourist to Traveller: Discourses of Authenticity and Self- Transformation in Television Travel Genres By Kania Sugandi A thesis: Submitted to Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts in Media Studies Victoria University of Wellington June 2011 Acknowledgements This thesis was a journey, and its completion is heavily indebted to the support of my supervisors and my friends and family. Firstly I would like to express my utmost gratitude to my supervisors, Dr. Tony Schirato and Dr. Joost de Bruin, for their unwavering support, guidance and encouragement. Tony’s expertise and enthusiasm never fail to inspire me and reignite my passion for both this thesis and Media Studies in general. This thesis was borne out of an Honours paper taught by Joost and I thank him for urging me to pursue it, and for instilling in me a strong sense of responsibility, discipline, and organisation. I am also extremely appreciative of my friends, particularly those within the Media Studies postgraduate community. Their friendship has made the journey not only bearable, but also thoroughly entertaining. I thank them for sharing the ups and downs of a thesis and for all the welcomed distractions which have kept me sane. Thank you also to my friends outside of university, especially those whose interest in my research have not only sparked many fruitful discussions but also reminded me, again and again, of my passion for the project. Lastly, I would like to express my deepest gratitude to my parents, especially my Mum, for their patience and their unconditional moral, financial and nutritional support. My parents brought me up to be inquisitive and open-minded and I hope that this thesis is a fair testament to that; to both of them I am eternally grateful. Table of Contents Introduction 2 Chapter One: Theoretical Background 4 Chapter Two: Sahara with Michael Palin 22 Chapter Three: Long Way Down 40 Chapter Four: Intrepid Journeys 63 Conclusion 84 References 88 1 Introduction Tourism and travel programmes, in the form of direct advertorials, travel and adventure shows, and reality television series set in exotic locations, now constitute a significant set of media forms, genres and sub-genres. This is clearly in line with recent and contemporary increases in the number of people travelling, facilitated by sophisticated transportation infrastructure, inexpensive airfares and an increased exposure, through the media, of what is on offer to the tourist/traveller. Considerable study has been done on the field of travel and tourism in order to ascertain what motivates people to travel; the nature of the interaction between the visitor and the visited; and how cultures are impacted by the introduction of tourism in the area. However, it is curious that, given its abundance and popularity, there is a noticeable absence of academic literature on television travel programmes and genres. Travel programmes give viewers a window onto travel destinations both within their own countries and, more commonly, around the world. Within the genre of travel programmes, there exists a wide variety of types and sub- genres, usually with an emphasis on tourism, adventure, and culture and heritage. Those differences aside, most travel programmes inform viewers (that is, either potential travellers or so-called ‘armchair travellers’) about what is available to see and do in, and generally what to expect from, a place, its people and its culture. Travel programmes act as advertisements for both destinations and the act of travelling itself. Three travel programmes will be analysed in this thesis: Sahara with Michael Palin, Long Way Down, and Intrepid Journeys. Sahara with Michael Palin is a BBC television series which documents the 98-day journey undertaken by Michael Palin (a British comedian and television personality) across the Sahara Desert through Northern and Western Africa. Long Way 2 Down is a documentation of the 95-day motorbike journey of actors Ewan McGregor and Charley Boorman, travelling south through 18 countries from John o' Groats in Scotland to Cape Agulhas in South Africa, in 2007. Lastly, Intrepid Journeys is a New Zealand television series based on travel undertaken by a number of New Zealand celebrities to various travel destinations around the world. The series is screened in New Zealand on TV One and its first episode was aired in 2003. All three of these programmes appear to steer away from the informational or advertorial sub-genre of travel programming (that is, those which explicitly sell or promote a touristic destination or tourism packages). Instead, they claim to highlight the experience of travel. Moreover they all share the same geographical location – Africa – which provides an additional continuity and point of comparison. This thesis will frame, contextualise and analyse those programmes, and this work will be carried out over four main chapters. Chapter One provides a scholarly and theoretical background whereby key academic concepts and issues, and relevant methodological apparatuses, are identified, described and contextualised. Chapter Two examines Sahara with Michael Palin, concentrating on the discursive tradition of travel that the programme refers to and models itself on, as well as the various roles taken on by Michael Palin as host. Chapter Three looks at Long Way Down, particularly in terms of its focus both on adventure, and by way of extension the performative and presentation styles of its celebrity hosts, Ewan McGregor and Charlie Boorman. Finally, Chapter Four looks at Intrepid Journeys, a programme which differs significantly from both Sahara with Michael Palin and Long Way Down, largely in terms of its New Zealand focus, its range of celebrity hosts, and its advertorial inflection. Despite these different points of emphasis, all three chapters share two main functions or tasks. First they examine how each programme reproduces, commits to, embodies and performs the values, imperatives, narratives and discourses of travel. Second they attempt to contextualise, situate and make sense of the cultural work performed in each programme within the wider frame of the contemporary cultural field of the media. 3 Chapter One: Theoretical Background Travel and Tourism In Time and Commodity Culture, John Frow discusses three discourses that are used to describe, analyse and explicate the field and activities of tourism. The first, according to Frow, is based on “the criticism of tourism as inauthentic activity” (69), where the term ‘tourist’ is “increasingly used as a derisive label for someone who seems content with his obviously inauthentic experience” (MacCannell 94). Within this discourse, the tourist is placed in contrast to the “heroic figure of the traveller and accused of a lack of interest in the culturally authentic” (Frow, “Time and Commodity Culture” 69). Resonances of the scathing denigration of tourists can be found in Paul Fussell’s Abroad: From Exploration to Travel to Tourism and Daniel Boorstin’s The Image: Guide to Pseudo-Events in America. Fussell writes about the loss of the adventurous, inquisitive traveller, claiming that through time, brave explorers have evolved into travellers, who, in turn, have become tourists (41). He writes that “before the development of tourism, travel conceived to be like a study... its fruits were considered to be the adornment of the mind and formation of the judgement” (Fussell 39). This sentiment is echoed by Boorstin in his argument on “the decline of the traveller and the rise of the tourist” (84). Referring specifically to Americans, Boorstin claims that the travel experience has been transformed. He acknowledges that a lot of people travel, yet “few are travellers in the old sense of the world” (Boorstin 79). Boorstin contrasts the ‘active’ traveller, at work in search of adventures and new experiences, with the passive, pleasure-seeking tourist who “expects interesting things to happen to him” (85). Travel, for Boorstin, has become "diluted, contrived and prefabricated” (79). In fact Boorstin goes as far as stating that the tourist “seldom likes the 4 authentic… product of foreign cultures”, claiming instead that they travel to look for caricatures; iconic objects, monuments or moments that confirm and satisfies their own expectations (106). Boorstin further criticises the tourist’s demand for what he terms ‘pseudo-events’ which, applied to tourism, can be understood as the “bland and unsurprising reproductions of what the image- flooded tourist knew was there all the time” (109). The tourist’s apparent curiosity and appetite for strangeness and difference, according to Boorstin, “seems best satisfied when the pictures in his own mind are verified in some far country” (109). For Fussell and Boorstin, travel and the traveller are positioned in the past, and both have been lost in the advent of contemporary tourism. Frow dismisses the first order of discourse as being the “least interesting” (“Time and Commodity Culture” 69) out of the three. In addition, MacCannell argues: the modern critique of tourists is not an analytical reflection on the problem of tourism—it is part of the problem. Tourists are not criticized by Boorstin and others for leaving home to see sights. They are reproached for being satisfied with superficial experiences of other peoples and other places (10). Referring to Culler, Frow declares that “it is possible to read the opposition of tourist to traveller outside of this cultural imaginary…the figure of the traveller…is not alien to the tourism industry but functional to it, both as a precursor…and as exemplar” (“Time and Commodity Culture” 69). The dichotomy between travel and tourism constitutes the basis of both cultural capital and commodity, something which can be drawn on by traveller (or tourist) to construct a certain identity of what kind of traveller (or tourist) one is.