After the outbreak of the zombie apocalypse, an elderly Swiss tourist finds himself stranded in America. Unable to go home, he and other survivors set up a small agricultural settlement in Alabama and defend it against marauders. After more than one year he discovers that a few European countries, although severely affected by the zombie pandemic, had managed to hang on, and he manages to return to Europe thanks to the French navy. Months later he returns to America as advisor to a French scientific expedition. Their road trip takes them to the Gulf coast, West Texas, Kansas and the Appalachians. They return with important information about the zombies and about the few survivors in America. An alarming incident with a zombie brought back from this expedition leads to one more trip across the ocean, this time as advisor to a battalion-sized French army unit. In the end the scientists succeed in finding the origin of the zombie pandemic.

The figure of the zombie that entered the popular imagination with the publication of William Seabrook's The Magic Island (1929)--during the American occupation of Haiti--still holds cultural currency around the world. This book calls for a rethinking of zombies in a sociopolitical context through the examination of several films, including White Zombie (1932), The Love Wanga (1935), I Walked with a Zombie (1943) and The Serpent and the Rainbow (1988). A 21st-century film from Haiti, Zombi candidat a la presidence ... ou les amours d'un zombi, is also examined. A reading of Heading South (2005), a film about the female tourist industry in the Caribbean, explores zombification as a consumptive process driven by capitalism.

Contemporary Cuba is opening up to the rest of the world. Its colonial past and the Communist revolution have left a lasting imprint on society, yet there is a tangible sense of rapid change which is reflected in the island's national cinema. New screen technologies and digital distribution media have supported the efficacy and global reach of Cuban filmmakers whose work, somewhat in lieu of adequate distribution and traditional screening facilities in Cuba itself, is often disseminated via 'flash' (USB memory sticks).Channelling an energetic DIY attitude through grassroots movements and ad-hoc resourcefulness, the new filmmakers of Cuba have inspired the editors of this book to embrace their contagious enthusiasm through essays on authentic Cuban cinema. Whilst the book provides a comprehensive overview of the history behind current practices, it also moves beyond this to examine key case studies as well as 'snapshots' of individuals working within the industry today. Chapters celebrate the shared creativity as well as diversity of Cuban cinema, including both productions of the Cuban Film Institute's (ICAIC) as well as those from the industry margins. The films discussed demonstrate a driving cinematic force through social criticism, the emphasis of debate and historical change through film, reassessments of gender relations, the use of new technologies and much more.

This book examines science fiction’s theoretical and ontological backgrounds and how science fiction applies to the future of tourism. It recreates and invents the future of tourism in a creative and disruptive manner, reconceptualising tourism through alternative and quantum leap thinking that go beyond the normative or accepted view of tourism. The chapters, focusing on areas such as disruption, sustainability and technology, draw readers into the unknown future of tourism – a future that may be disruptive, dystopian or utopian. The book brings a new theoretical paradigm to the study of tourism in a post COVID-19 world and can be used to explore, frame and even form the future of tourism. It will capture the imagination and inspire readers to address tourism’s challenges of tomorrow.

Since 'The Night of the Living Dead, ' screen Zombies have become increasingly bizarre, bloodthirsty, yes even cannibalistic. A complete film guide to all your favorite undead, zombie, and the living dead films. Interesting stories behind the scenes and a list of my favorite zombie films. One thing is for sure - Zombies in various forms remain very much alive, in the movies and in audiences' imagination - like yours and mine! I want to eat your brains!

Over the past decade, tourism studies has broken out of its traditional institutional affiliation with business and management programs to take its legitimate place as an interdisciplinary social science field of cutting edge scholarship. The field has emerged as central to ongoing debates in social theory concerning such diverse topics as postcolonialism, mobility, and postmodernism, to name just a few. While there has been a diverse body of empirical research on this transformation the theoretical discussions in tourism studies remain largely attached to theories of modernity and Anglo-centric assumptions about tourism. There is a need for the field to come to terms theoretically with the contemporary and future realities of tourism as a truly global phenomenon. Real Tourism is a significant volume which sets this new theoretical agenda, engaging directly with what tourism does in practice and in place and demonstrates the need for a theoretical intervention that moves tourism scholarship beyond the province of Anglophone thinking. The volume achieves this by explicitly bridging ‘western’ and ‘non-western’ scholarship on tourism; reframing theoretical discussions around ‘real practices’ instead of abstract typologies; and radically delinking tourism theory from the grand narratives of modernity and assumptions about authenticity, identity, tradition, and development. The book brings together leading academics in the field and provides provocative multidisciplinary and multi-contextual reflection on the future of tourism. This original, timely and compelling volume puts forward new post modernist ideas and arguments about tourism today and in the future. It is essential reading for students, researchers and academics interested in Tourism.

This new book reviews all aspects of the phenomenon of mass tourism. It covers theoretical perspectives (including political economy, ethics, sustainability and environmentalism), the historical context, and the current challenges to domestic, intra-regional and international mass tourism. As tourism and tourist numbers continue to grow around the world, it becomes increasingly important that this subject is studied in depth and best practice applied in real-life situations. Finishing with a speculative chapter identifying potential future trends and challenges, this book forms an essential resource for all researchers and students within tourism studies.

National Identity in 21st-Century Cuban Cinema tours early 21st-century Cuban cinema through four key figures—the monster, the child, the historic icon, and the recluse—in order to offer a new perspective on the relationship between the Revolution, culture, and national identity in contemporary Cuba. Exploring films chosen to convey a recent diversification of subject matters, genres, and approaches, it depicts a changing industrial landscape in which the national film institute (ICAIC) coexists with international co-producers and small, ‘independent’ production companies. By tracing the reappearance, reconfiguration, and recycling of national identity in recent fiction feature films, the book demonstrates that the spectre of the national haunts Cuban cinema in ways that reflect intensified transnational flows of people, capital, and culture. Moreover, it shows that the creative manifestations of this spectre screen—both hiding and revealing—a persistent anxiety around Cubanness even as national identity is transformed by connections to the outside world.

Offering a lucid diagnosis of the conflictive encounter between people experiencing homelessness and foreign tourists in Buenos Aires City, chapters examine divergent topics such as poverty tourism, safety-security in tourism, tourism consumption, heritage tourism, and anthropology of tourism.

This is a comprehensive overview of zombie movies in the first 11 years of the new millennium, the most dynamic and vital period yet in the history of the zombie genre. It serves not only as a follow-up to its predecessor (The Zombie Movie Encyclopedia, McFarland 2001), which covered movies from 1932 up until the late 1990s, but also as a fresh exploration of what uniquely defines the genre in the 2000s. In-depth entries provide critical analysis of the zombie as creature in more than 280 feature-length movies, from 28 countries and filmed on six continents. An appendix offers shorter entries for more than 100 shorts and serials.