It also looks at film reviews and other texts to reflect critically on its reception by an international audience, and its relationship with the tourist industry. The present article explores Hollywood narrations of Neohellenic and Mediterranean identity through a relatively recent film adaptation of Captain Corelli’s Mandolin by Louis de Bernières. Including these groups helps us displace normative constructions of the gaze, and situates The Beach within an interpretive field that considers networks of influence rather than unidirectional representation. Yet these practices extend beyond the western film viewer or would-be tourist, and include Thai environmental activists, Japanese Di Caprio fans and researchers such as ourselves. In this way, film viewing itself may be understood as a form of tourism - a kind of tropical flânerie which both reflects and constitutes a range of tourist practices in Thailand. In particular, we seek to elaborate the modification of the Maya Bay set(ting) for The Beach as part a broader process whereby `tropical environments' are staged in line with the `tourist gaze'. In this article, we are concerned with how such intertwining extends beyond `film tourism', conventionally conceived. Yet the movie is itself bound up with tourist practices in a variety of ways. Based on the book by Alex Garland, Twentieth Century Fox's movie, The Beach, proffers critical views on the effects of traveller tourism in Thailand.
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