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Newly available lightweight cine camera equipment provided affluent Britishholidaymakers with an innovative travel accessory in the mid 1920s. Travelnarratives produced by early camera-touting enthusiasts may be likened to precedingforms of travel experience depicted in art and written form, but importantdifferences occur too. This discussion explores issues of place representation,ethnography and perceptions of regional identities, cultures, and histories throughreference to amateur holiday footage filmed in the Balkans in 1934. Analysis ofrural and urban scenes, traditions, and itinerary, as well as the cinematicprocesses found within this filmic travelogue, are related to earlieroutsiders’ responses and contemporary travel texts including guides,diaries and other genres of travel literature. Contemporary debates on post-conflictidentity in the Balkan region and tourism history within the Mediterranean, as wellas socio-cultural and aesthetic aspects of non-professional film-making form a widercontext for this focus upon Balkan imagery.
Tourist Studies: An International Journal – SAGE
Published: Apr 1, 2006
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