![]() The anticipation (and consequential reception) of these works is, in part, driven by nostalgia: the original Star Wars film, A New Hope, was released in 1977 and as the series has expanded in the decades since, in film and other media, nostalgia has become ingrained within the fandom as audiences are invited to repeatedly return to ‘a long time ago, in a galaxy far, far away’. Nostalgia is a necessary element of Star Wars: The Clone Wars (2008–20) and the ‘new’ Star Wars comics (Marvel, 2015–19), recent serial narratives in the ever-expanding transmedia Star Wars universe. Finally, suggestions and policy proposals are provided for the Disneyization of tourism space in China. Moreover, the Wuzhen Town Mode of the Disneyization is jointly motivated by the driving force of local governments, the propulsive force of tourist demand, the attractive force of the social environment, and the driving force of capital. Residential function is a unique characteristic of the Disneyization of cultural tourism towns in China. According to this research, the Wuzhen Town Mode of the Disneyization is characterized by theming, hybrid consumption, merchandising, and performative labor. Taking the Wuzhen Town Mode as an example, this study reveals the characteristics and conversion mechanism of the Disneyization of tourism space in Chinese cities. This research reflects on the evolution of the characteristics of tourism space in China. They are typical of the “Wuzhen Town Mode” and represent the process of the Disneyization of tourism space in China. With the construction of characteristic towns being vigorously promoted throughout China, cultural tourism towns are springing up. The result is the Disneyization of urban tourism space. Theme park development has become an important choice for tourism space development in Chinese cities, and the theming of space as well as the implied consumption symbols and cultural implications are usually viewed as examples for the development of other urban spaces, such as cultural tourism towns. The paper concludes by critically examining these popular celebrations of nationalism. In experiencing nation-pride in a playful manner beyond the national borders, ideas of contemporary Indianness are redefined in a cosmopolitan context. Based on a series of in-depth interviews with 18 participants and accompanied by participant observations, this paper shows how Indian tourists use this leisure zone far away from the Indian subcontinent as a platform to connect and celebrate larger notions of Indianness. More, in particular, it offers an empirical exploration of the tourist experience of Bollywood Parks Dubai – the first and largest theme park dedicated to Bollywood. This paper focuses on the popularity of Bollywood’s transmedia culture in an international setting. Existing research has shown how Bollywood offers Indians – both home and abroad – a cinematic image of their homeland, fostering a sense of belonging. In recent years, Bollywood has expanded into a global, trans-textual phenomenon, consumed by a large audience-base worldwide.
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