What impact did walking tours and scenic films have on leisure activities? In what ways did working class travel disrupt normative narratives concerning nature and identity? The appreciation of nature and leisure travel have a complex and interrelated history in Scotland. In Charting Scottish Tourism, Wilson looks at how scenic filmmaking altered the construction of the tourist map and spatial identities at the turn of the 20th Century. Scenic film, the author argues, played a key role in the expansion of regional travel and national tourism during the period. In addition, scenic film provides the modern researcher with an unrivalled source of documentary evidence relating to the manner in which Scottish working and middle class communities explored and reclaimed the natural spaces around them. The author examines the central role of the Scottish scenic within leisure performances and the way in which these films promoted and challenged normative spatial narratives. These discursive shifts, she argues, had a wide-reaching impact on popular assumptions concerning space, nature and identity both home and away. Charting Scottish Tourism provides a fascinating case study and numerous methodological insights for students and researchers interested in documentary film as well as the construction of identity and the natural world.

This book provides the first synthetic review of the literature on cultural roads and itineraries, providing a template for developing typologies and clarity on existing research. It additionally develops a unique conceptual framework for understanding the social, political, ethical, and spatial dynamics behind cultural roads and itineraries. The book takes the discussion on cultural roads in two different directions. Firstly, by taking a step back from tourism studies, leisure studies, and heritage studies in order to further the conversation on cultural roads with a broader set of disciplines, namely those in the humanities and social sciences. Secondly, through a series of broader theoretical reflections and considerations, the book draws its focus back to the development of the cultural road and cultural itineraries with a new conceptual apparatus that can inspire new questions for research and new ideas for practice. Throughout the text, concepts, theories, principles, and practices are explored and explained through detailed case study analyses.

'It's not a high concept movie, there's actually no story there really. It's what happens in between the story that's important' – Bill Forsyth The story of an American businessman sent to buy the Scottish village of Ferness with the aim of turning it into an oil refinery, Local Hero is one of Scotland's most beloved, and most misunderstood, films. When Bill Forsyth's incredible success with the low-budget That Sinking Feeling and Gregory's Girl found him collaborating with Britain's best-known film producer, David Puttnam, he soon found his independent ethos clashing with Hollywood's desire for superstar actors and a happy ending. Jonathan Melville checks into the MacAskill Arms and looks back at Bill Forsyth's career with the help of new and archive interviews, before spending time with the cast and crew, including stars Peter Riegert and Denis Lawson, who made Local Hero on location in Houston and Scotland in 1982. With access to early drafts of the Local Hero script (including hand-written notes) that reveal more about Mac and mermaids, excerpts from a previously unpublished interview in which Bill Forsyth explains why he refuses to call his film 'feel-good', and a look at long-lost deleted scenes with exclusive commentary from those involved, this is the definitive history of the Scottish classic. 'Genuine fairy tales are rare; so is film-making that is thoroughly original in an unobtrusive way. Bill Forsyth's quirky disarming Local Hero is both . . . it demonstrates Mr. Forsyth's uncanny ability for making an audience sense that something magical is going on, even if that something isn't easily explained' – Janet Maslin, The New York Times ' Local Hero is kind of transcendent. It's poetic in a way that most films can't hope to be' – Frank Cottrell-Boyce ' Local Hero is one my favourite films of all time . . . A timeless masterpiece' – Mark Kermode

Heritage and its economies are driven by affective politics and consolidated through emotions such as pride, awe, joy and pain. In the humanities and social sciences, there is a widespread acknowledgement of the limits not only of language and subjectivity, but also of visuality and representation. Social scientists, particularly within cultural geography and cultural studies, have recently attempted to define and understand that which is more-than-representational, through the development of theories of affect, assemblage, post-humanism and actor network theory, to name a few. While there have been some recent attempts to draw these lines of thinking more forcefully into the field of heritage studies, this book focuses for the first time on relating heritage with the politics of affect. The volume argues that our engagements with heritage are almost entirely figured through the politics of affective registers such as pain, loss, joy, nostalgia, pleasure, belonging or anger. It brings together a number of contributions that collectively - and with critical acuity - question how researchers working in the field of heritage might begin to discover and describe affective experiences, especially those that are shaped and expressed in moments and spaces that can be, at times, intensely personal, intimately shared and ultimately social. It explores current theoretical advances that enable heritage to be affected, released from conventional understandings of both ’heritage-as-objects’ and ’objects-as-representations’ by opening it up to a range of new meanings, emergent and formed in moments of encounter. Whilst representational understandings of heritage are by no means made redundant through this agenda, they are destabilized and can thus be judged anew in light of these developments. Each chapter offers a novel and provocative contribution, provided by an interdisciplinary team of researchers who are thinking theoretically about affect through landscapes, practices of commemoration, visitor experience, site interpretation and other heritage work.

The Sounds of Early Cinema is devoted exclusively to a little-known, yet absolutely crucial phenomenon: the ubiquitous presence of sound in early cinema. "Silent cinema" may rarely have been silent, but the sheer diversity of sound(s) and sound/image relations characterizing the first 20 years of moving picture exhibition can still astonish us. Whether instrumental, vocal, or mechanical, sound ranged from the improvised to the pre-arranged (as in scripts, scores, and cue sheets). The practice of mixing sounds with images differed widely, depending on the venue (the nickelodeon in Chicago versus the summer Chautauqua in rural Iowa, the music hall in London or Paris versus the newest palace cinema in New York City) as well as on the historical moment (a single venue might change radically, and many times, from 1906 to 1910). Contributors include Richard Abel, Rick Altman, Edouard Arnoldy, Mats Björkin, Stephen Bottomore, Marta Braun, Jean Châteauvert, Ian Christie, Richard Crangle, Helen Day-Mayer, John Fullerton, Jane Gaines, André Gaudreault, Tom Gunning, François Jost, Charlie Keil, Jeff Klenotic, Germain Lacasse, Neil Lerner, Patrick Loughney, David Mayer, Domi-nique Nasta, Bernard Perron, Jacques Polet, Lauren Rabinovitz, Isabelle Raynauld, Herbert Reynolds, Gregory A. Waller, and Rashit M. Yangirov.

Backpacker brings the outdoors straight to the reader's doorstep, inspiring and enabling them to go more places and enjoy nature more often. The authority on active adventure, Backpacker is the world's first GPS-enabled magazine, and the only magazine whose editors personally test the hiking trails, camping gear, and survival tips they publish. Backpacker's Editors' Choice Awards, an industry honor recognizing design, feature and product innovation, has become the gold standard against which all other outdoor-industry awards are measured.

Write guidebooks, make travel TV, lead bus tours? Cameron Hewitt has been Rick Steves’ right hand for more than 20 years, doing just that. The Temporary European is a collection of vivid, entertaining travel tales from across Europe. Cameron zips you into his backpack for engaging and inspiring experiences: sampling spleen sandwiches at a Palermo street market; hiking alone with the cows high in the Swiss Alps; simmering in Budapest’s thermal baths; trekking across an English moor to a stone circle; hand-rolling pasta at a Tuscan agriturismo; shivering through Highland games in a soggy Scottish village; and much more. Along the way, Cameron introduces us to his favorite Europeans. In Mostar, Alma demonstrates how Bosnian coffee isn’t just a drink, but a social ritual. In France, Mathilde explains that the true mastery of a fromager isn’t making cheese, but aging it. In Spain, Fran proudly eats acorns, but never corn on the cob. While personal, the stories also tap into the universal joy of travel. Cameron’s travel motto (inspired by a globetrotting auntie) is "Jams Are Fun"—the fondest memories arrive when your best-laid plans go sideways. And he encourages travelers to stow their phones and guidebooks, slow down, and savor those magic moments that arrive between stops on a busy itinerary. The stories are packed with inspiration and insights for your next trip, including how to find the best gelato in Italy, how to select the best produce at a Provençal market, how to navigate Spain’s confusing tapas scene, and how to survive the experience of driving in Sicily (hint: just go numb). And you’ll get a reality check for every traveler’s "dream job": researching and writing guidebooks; guiding busloads of Americans on tours around Europe; scouting and producing a travel TV show; and working with Rick Steves and his merry band of travelers. It’s a candid account of how the sausage gets made in the travel business—told with warts-and-all honesty and a sense of humor. For Rick Steves fans, or anyone who loves Europe, The Temporary European is inspiring, insightful, and fun.

The internationally focused Dictionary of Museology reflects the diversity of cultural and disciplinary approaches to theory and practice in the museum field today. The museum world is changing rapidly, and the characteristics and social roles of the world’s approximately 100,000 existing museums are constantly evolving. In addition to their traditional functions of preservation, research and communication, museums are increasingly addressing issues related to social inclusion, human rights, sustainable development and finances, all of which are explored in this dictionary. Drawing on the support of an international editorial committee, including influential figures from the US, Canada, Brazil, Japan, Spain, Germany, France and the UK, this collaborative work produced by over 100 researchers from around the world provides an overview of this unique field by defining over 1,000 terms relating to museology. The Dictionary of Museology is intended for a broad spectrum of museum professionals, academics, researchers and students. The book will be especially useful to those working with international partners, since a common lexicon that conveys the complex reality of current social and cultural values is particularly vital for those working across borders.