The aspirational tourist photographer

Publikation: Bidrag til tidsskriftTidsskriftartikelForskningpeer review

Resumé

Much of the literature on tourist photography is highbrow, derogatory and
incomplete. Most importantly, it neglects the apirations and endeavours
that tourists put into their photography. In this article I draw a different
portrait of tourist photography by drawing upon practice and performance
theory and ethnographic research. Performance metaphors – stage,
script, director, acting and so on – can help us write illuminating and
dynamic accounts of tourist photography as an embodied and creative
performance, ‘full of life’, that produces memories, social relations and
places. Thus, the snapshot metaphor, and its undertones of headlong
shooting, is dismissed on the grounds that it prevents us from registering
the physicality, temporality and creativity of much photography. I begin
by outlining the intimate relationship between tourism and photography
and how much literature has seen this coupling as alienating and causing
superficial appreciation of places. Then I turn to performative metaphors
and ethnographic studies to highlight the case of the aspirational tourist
photographer.
OriginalsprogEngelsk
TidsskriftFotograf Magazine
Vol/bind32
Antal sider93
StatusUdgivet - 2018

Bibliografisk note

reprint of article originally published eitherand.org/...photography/aspirational-tourist-photographer/

Citer dette

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title = "The aspirational tourist photographer",
abstract = "Much of the literature on tourist photography is highbrow, derogatory andincomplete. Most importantly, it neglects the apirations and endeavoursthat tourists put into their photography. In this article I draw a differentportrait of tourist photography by drawing upon practice and performancetheory and ethnographic research. Performance metaphors – stage,script, director, acting and so on – can help us write illuminating anddynamic accounts of tourist photography as an embodied and creativeperformance, ‘full of life’, that produces memories, social relations andplaces. Thus, the snapshot metaphor, and its undertones of headlongshooting, is dismissed on the grounds that it prevents us from registeringthe physicality, temporality and creativity of much photography. I beginby outlining the intimate relationship between tourism and photographyand how much literature has seen this coupling as alienating and causingsuperficial appreciation of places. Then I turn to performative metaphorsand ethnographic studies to highlight the case of the aspirational touristphotographer.",
author = "Jonas Larsen",
note = "reprint of article originally published eitherand.org/...photography/aspirational-tourist-photographer/",
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The aspirational tourist photographer. / Larsen, Jonas.

I: Fotograf Magazine, Bind 32, 2018.

Publikation: Bidrag til tidsskriftTidsskriftartikelForskningpeer review

TY - JOUR

T1 - The aspirational tourist photographer

AU - Larsen, Jonas

N1 - reprint of article originally published eitherand.org/...photography/aspirational-tourist-photographer/

PY - 2018

Y1 - 2018

N2 - Much of the literature on tourist photography is highbrow, derogatory andincomplete. Most importantly, it neglects the apirations and endeavoursthat tourists put into their photography. In this article I draw a differentportrait of tourist photography by drawing upon practice and performancetheory and ethnographic research. Performance metaphors – stage,script, director, acting and so on – can help us write illuminating anddynamic accounts of tourist photography as an embodied and creativeperformance, ‘full of life’, that produces memories, social relations andplaces. Thus, the snapshot metaphor, and its undertones of headlongshooting, is dismissed on the grounds that it prevents us from registeringthe physicality, temporality and creativity of much photography. I beginby outlining the intimate relationship between tourism and photographyand how much literature has seen this coupling as alienating and causingsuperficial appreciation of places. Then I turn to performative metaphorsand ethnographic studies to highlight the case of the aspirational touristphotographer.

AB - Much of the literature on tourist photography is highbrow, derogatory andincomplete. Most importantly, it neglects the apirations and endeavoursthat tourists put into their photography. In this article I draw a differentportrait of tourist photography by drawing upon practice and performancetheory and ethnographic research. Performance metaphors – stage,script, director, acting and so on – can help us write illuminating anddynamic accounts of tourist photography as an embodied and creativeperformance, ‘full of life’, that produces memories, social relations andplaces. Thus, the snapshot metaphor, and its undertones of headlongshooting, is dismissed on the grounds that it prevents us from registeringthe physicality, temporality and creativity of much photography. I beginby outlining the intimate relationship between tourism and photographyand how much literature has seen this coupling as alienating and causingsuperficial appreciation of places. Then I turn to performative metaphorsand ethnographic studies to highlight the case of the aspirational touristphotographer.

UR - https://fotografmagazine.cz/en/

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VL - 32

JO - Fotograf Magazine

JF - Fotograf Magazine

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