Suchergebnisse

Abstract
This article examines the discursive circulation of stories in journalism and travel writing over the last fifty years that linked leading Western Samoan hotelier Aggie Grey to South Pacific's iconic Tonkinese, Bloody Mary. Made famous by Juanita Hall in the Broadway musical (1949–1954), and subsequent cinematic adaptation (Joshua Logan, 1958), Bloody Mary first appeared in James Michener's Pulitzer Prize-winning Tales of the South Pacific (written 1944–1946, published 1947). The careful marketing and growth of the Aggie Grey brand both before and after her death in 1988, exemplifies the close economic relationship between the development of tourism in Samoa in the post-war years and the American film and celebrity industries, with the hotel in Apia providing accommodation, logistical and catering support to Hollywood productions and film stars from William Holden to Marlon Brando. My examination of an origin myth linking a charismatic historical figure with an iconic fictional character is undertaken not to ultimately suggest any one-to-one relationship between the two, but rather to demonstrate a remarkable persistence of a Pacific romanticism. In what I name as the optics of tourism I join with earlier scholars in suggesting that we must be more attuned to accounting for the affective power of visual media and the ways in which Hollywood plays a continuing complex role in cultural memory, tourism and popular culture.

Abstract
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Frontmatter -- Contents -- Acknowledgments -- Introduction: Intersections and/in Space -- I _ DIGITAL INTERSECTIONS -- Chapter one / "Where Do Aliens Pee?": Bathroom Selfies, Trans Activism, and Reimagining Spaces -- Chapter two / The Queerness of Space and the Body in Nintendo's The Legend of Zelda Series -- Chapter three / The Digital Flâneuse: Exploring Intersectional Identities and Spaces through Walking Simulators -- II _ CINEMATIC URBAN INTERSECTIONS -- Chapter four / Blurring Boundaries, Exploring Intersections: Form, Genre, and Space in Shirley Clarke's The Connection -- Chapter five / Intersections in Madrid's Periphery: Cinematic Cruising in Eloy de la Iglesia's La semana del asesino (1972) -- Chapter six / Encounters and Embeddedness: The Urban Cinema of Ramin Bahrani -- Chapter seven / Perpetual Motion: Mobility, Precarity, and Slow Death Cinema -- III _ URBANISM AND GENTRIFICATION -- Chapter eight / Senior Citizens under Siege: Number Our Days (1976) and Gray Power Activism in Venice -- Chapter nine / Music City Makeover: The Televisual Tourism of Nashville -- Chapter ten / Portland at the Intersection: Gentrification and the Whitening of the City in Portlandia's Hipster Wonderland -- Chapter eleven / Criminal Properties: Real Estate and the Upwardly Mobile Gangster -- IV _ RACE, PLACE, AND SPACE -- Chapter twelve / Dressing the Part: Black Maids, White Stars in the Dressing Room -- Chapter thirteen / "I Do Not Know That I Find Myself Anywhere": The British Heritage Film and Spaces of Intersectionality in Amma Asante's Belle (2013) -- Chapter fourteen / Queerness, Race, and Class in the Midcentury Suburb Film Crime of Passion (1956) -- Chapter fifteen / Fair Play: Race, Space, and Recreation in Black Media Culture -- V _ STYLE AND/AS INTERSECTIONALITY -- Chapter sixteen / The Toxic Intertwining of Small-Town Lives in Happy Valley -- Chapter seventeen / Tattooed Light and Embodied Design: Intersectional Surfaces in Moana -- Chapter eighteen / Vaguely Visible: Intersectional Politics in Bertrand Bonello's Nocturama (2016) -- Notes -- Bibliography -- Contributors -- Index