ABSTRACT

This paper extends the notion of film tourism in the context of Thailand from the focus on destination marketing to affective connections between film locations and fans. Combining frameworks from fan studies particularly the notion of pilgrimage, and a conceptual way of linking play with space in game and architectural studies, the paper examines playful practices at film locations and associated spaces mediated by digital photography, video and online story-telling associated with the Thai genre films called nang rak, which emerged in the early 2000s–2010s. The examination of play practices highlights the imaginative, performative and mediated plays by film fans, which created play movements in space or ‘kinesis’ at the film locations making them become cultural playgrounds for identity negotiations and the sites for expressing desires for affective cities. The paper also invites further consideration on fan pilgrimage in relation to changes with political climate, tourism development and vernacular cultural sites.

摘要

本文将泰国背景下的电影旅游概念从对目的地营销的关注扩展到电影拍摄地与影迷之间的情感联系。结合粉丝研究的框架，特别是朝圣的概念，以及在游戏和建筑研究中将游戏与空间联系起来的概念方式，本文研究了在电影拍摄地和相关空间中的有趣实践，这些实践以数字摄影、视频和在线故事讲述为中介。泰国流派电影，叫做nang rak，出现在 2000 年代至 2010 年代初期。对游戏实践的考察突出了影迷们富有想象力、表演性和中介性的戏剧，它们在空间中创造了游戏运动或电影地点的“运动”，使它们成为身份谈判的文化游乐场和表达对情感城市的渴望的场所。本文还邀请进一步考虑与政治气候、旅游发展和本土文化遗址变化相关的粉丝朝圣。