While debates on tourism have predominantly focused on the role played by literature or the cinema as creating the desire to travel to different sites and sights (Urry 2002), little has been written on what happens when the film adaptation itself is the tourist attraction; when the act of viewing a film is equivalent to a tourist practice. This film, like the other Merchant Ivory productions, is as much a tourist attraction as it is a film narrative. Both of these models of tourism (literary and cinematic) are, however, predicated upon a corporeal mobility of the tourist to a geographical location. This can be supplemented today by a virtual mobility via the cinema screen: a virtual English journey. The Remains of the Day thus brings together these varying discourses of tourism: travel literature; literary tourism; cinematic tourism; and finally the virtual tourism offered by the adaptation being showcased on the cinema screen. The trope of tourism can thus be appropriated to both constructions and deconstructions of myths of Englishness.
the tourist, the guidebook, and the motorcar in The Remains of the Day
Motoring and the Semantics of Space in Early Twentieth-Century British Travel Writing
When, in the early twentieth century, British middle-class writers went on a tour in search of their country, travel writing not only saw the re-emergence of the home tour, but also the increasing appearance of the motorcar on British roads. With the travelogue playing the role of a discursive arena in which debates about automobility were visualized, the article argues that, as they went “in search of England,” writers like Henry Vollam Morton and J. B. Priestley not only took part in the ideological framing of motoring as a social practice, but also contributed to a change in the perception of accessing a seemingly remote English countryside. By looking at a number of contemporary British travelogues, the analysis traces the strategies of how the driving subjects staged their surroundings, and follows the authors' changing attitudes toward the cultural habit of traveling: instead of highlighting the seemingly static nature of the meaning of space, the travelogues render motoring a dynamic and procedural spatial practice, thus influencing notions of nature, progress, and tradition.