By Bella Dicks
“a great addition to a turning out to be physique of scholarly writing… a accomplished severe survey of the literature on cultural historical past and tourism and linked concerns within the fields of cultural and media stories over the former decade. those thoughts and concerns are sincerely offered and exemplified within the case reviews of various websites of cultural display…” - Southern Review
• Why is tradition so commonly on display?
• What are the most important features of up to date cultural display?
• what's the courting among cultural reveal and key positive factors of up to date society: the increase of consumerism; tourism; ‘identity-speak’; globalization?
• What can cultural reveal let us know approximately present kin of self and different, right here and there, now and then?
Culture on exhibit invitations the reader to go to tradition. Reflecting at the modern proliferation of web sites showing tradition in visitable shape, it bargains clean methods of considering tourism, rest and heritage.
Bella Dicks locates diversified exhibitionary destinations inside of wider social, financial and cultural ameliorations, together with modern practices of tourism and commute, suggestions of monetary improvement, the staging of identities, globalization, interactivity and kin of consumerism. specifically, she seriously examines how tradition turns into remodeled whilst it really is wear exhibit inside of those contexts. In each one bankruptcy, key theoretical problems with debate, akin to authenticity, commodification and illustration, are mentioned in a full of life and available manner.
This is a vital booklet for undergraduate and postgraduate scholars of cultural coverage, cultural and media reports and sociology, in addition to educational researchers during this box. it's going to even be of substantial price to scholars of sociology of tradition, cultural politics, arts management and cultural administration.
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Additional info for Culture on Display: The Production of Contemporary Visitability (Issues in Cultural and Media Studies)
It also shows that images of consumerism – which represent the average Westerner as a funloving big-spender, cruising city bars and clubs and constantly nipping in and out of theme parks – are not universal, but constructed around classbased (and age-based) appeals. The flip-side to this image suggests that not everyone is connected up to these networks. Hannerz (1990) distinguishes between ‘cosmopolitans’ and locals, noting the emergence of a highly mobile class of culturally literate consumers who can navigate their way (literally and metaphorically) around global cultures.
Attracting visitors from outside, as well as companies whose employees will spend money in local leisure venues, is one part of the 35 36 CULTURE ON DISPL AY strategy. Providing the venues for that spend is the other – and this is where cultural display comes in. Gentrification strategies, waterfront and other property-based redevelopment projects, shopping centres and market places, festival retailing, urban spectacles, prestigious new museums, heritage, entertainment and tourism – these are all targeted at the creation of visitor space that will produce carefully sited pools of consumption.
In addition, concepts such as multiculturalism have gone some way to undoing the link between culture and place, by seeing different cultures as belonging to the same nation-state or state-community. Yet the cultural mosaic definition still underpins multiculturalism, for the latter operates with the idea of clearly distinguished, homogeneous cultural identities, even though these are not necessarily tied to geographical territories (Welsch 1999). Gupta and Ferguson (1992) suggest that popular ideas of culturally and ethnically distinct places have become even more salient as their actual lines of demarcation in a globalized world become more blurred.