Articles de revues sur le sujet « Host-Destination Reputation »

Business tourism is an important and fast-growing sector in the global tourism industry. It is often positioned as a crucial part of an economic development strategy, particularly in emerging destinations, such as Serbia. As there is a growing number of destinations that recognized benefits of business tourism development, tourism professionals and destination management must be aware of key success factors for business tourism destinations, namely factors that influence the choice of host destination for a business event. Serbia has been one of the growing meeting destinations in Europe in the last decade, and Zlatibor is a desirable tourist destination in the country, with a good reputation in hosting meetings primarily in the field of medicine. This study aims to examine the success factors for business tourism destination and the attractiveness of Zlatibor for holding business events from destination stakeholders' perspective. The results could be of interest to all stakeholders in business tourism.

This qualitative exploratory study focuses on marriage immigrant women and explores the possibility they might contribute to the sustainability of the host country. A sustainable society, the contribution of visiting friends and relatives (VFR) tourism to destination sustainability, information behavior, and fringe stakeholder involvement for sustainable destination management are the focus of this study. Vietnamese marriage immigrant women in South Korea were investigated; the reasons for the investigation include: their increasing numbers, their significance caused by the roles both at the household and the societal levels, and the increased diplomatic ties between Vietnam and South Korea. The narratives of 16 informants about their leisure, hosting of friends and relatives, and information sharing patterns show that Vietnamese marriage immigrant women’s leisure and travel facilitate their subjective well-being and the enhancement of social capital, which potentially contribute to a sustainable society. Their hosting experience of the visits of friends and relatives, and its implications for sustainability, are further discussed. Furthermore, their roles as information mediators suggest their potential to contribute to the formation of the host country reputation. Self-appraisal of their unique travel patterns provides implications for involving this group for destination management. We consider both their importance and constraints as contributors to the host country attaining sustainability, and the implications are discussed.

Purpose This paper aims to explore the experience of self-initiated expatriates (SIEs) moving from the global South to the global North. It considers the relationship between country of origin and host country, the role of non-traditional destinations and the choices made by SIEs. Design/methodology/approach In-depth interviews were conducted with Indian SIEs and key experts to explore the motives, identities and life narratives of skilled expatriate Indians in France. Findings The results shed light on how individuals’ careers are fashioned through the intersection of identities; highlighting the interplay between country of origin and the host country as a catalyst in SIEs’ choice of destination. Furthermore, the authors demonstrate a strategic form of agency exercised through these SIEs’ choice of an unconventional destination. Research limitations/implications The intricate nature of SIE trajectories holds implications for migration theory, diaspora studies and career theory. SIEs from the Global South adopt varying strategies linked to specific host-country career offerings, often in sharp contrast with home-country opportunities. Practical implications The results inform managerial and policy-maker understandings of career motivations for mobile skilled workers moving for career and lifestyle. For countries seeking to attract talent, the findings demonstrate the roles of host-country immigration policy, country reputation and perceived career opportunities. Originality/value This study helps address research gaps in relation self-initiated expatriation from the Global South to the North. At the same time, it identifies the potential for transitional spaces and the relationship between countries, identity-formation factors and career agency. These findings on France as a transitional space – one of intermediacy and in-betweenness, where self-identity and future career projections can be re-imagined and reshaped – shed new light on how SIEs and their movements can be conceptualized.

The Redemption Camp is unarguably one tourism destination that has fascinated many among the Christian and non-Christian folks. Religious sites are among the most visited tourism destinations in the world; people have visited Redemption Camp in their thousands and millions in recent times more than any known tourism destination in Nigeria. The evidence for these realities is attributed to the selfsustainable status the Camp has attained over the years and the increased rate at which it continues to attract visitors. Development in terms of infrastructure and socio-economic activities in Redemption Camp and the neighbouring host communities is evident, arising primarily from tourism activities. This reality underpins the impacts of religious tourism on the development. The study x-rays development, as enhanced by the activities of religious tourism in the Redemption Camp, Mowe, Ogun State, Nigeria. The research employs participant observation, unstructured interviews and key informants interviews. The key informant interviews elicited facts on Redemption Camp as a religious tourism destination while the unstructured interviews examined visitors’ attitude as religious tourists. The study specifically identifies the role religious tourism played and is still in the development of Redemption Camp as wellas the spill over effects on the residents and the host communities. Factors that enhanced religious tourism activities in the Camp include the provision of efficient transportation mode, stable electricity, comfortable accommodation and clean water supply. Tourismattractions within the camp which have earned the camp its self-sustaining reputation are: the Redemption Resort, The Redeemer’s High School. Redeemer’s Maternity Centre, Banking Institutions, Open Heavens International Centre, Emmanuel Park and the main auditorium which sits over two million attendees. It is recommended that, with the growing spate of expansionary activities in the Redemption Camp, the management should ensure necessary precautionary measures in place to guard against disrupting the environmental harmony the redemption camp is known for. Key words: Tourism, Religious tourism, Development, Redemption Camp

Purpose The purpose of this paper is to examine the key factors affecting Mainland Chinese students pursuing a Master of Education degree in Hong Kong on their study abroad decision and return intentions. Design/methodology/approach The current study employed a mixed-methods approach to investigate factors that affect Mainland Chinese students pursuing MEd degrees in Hong Kong. Participants were first invited to fill out a questionnaire. After collecting and analyzing the survey data, in-depth interviews with a selected group of students were carried out by the research team to obtain useful qualitative data to triangulate the survey findings. A purposeful and convenience sampling method, carried out through the personal network of the research team, was used to recruit MEd Mainland Chinese students in Hong Kong to participate in the current study. Findings The findings provided compelling evidence that Hong Kong was an attractive study destination to this particular group of MEd Chinese students. The findings also indicated that academic factors were more important than social, cultural and economic factors when it came to choosing their study destination. In contrast to previous studies, participants expressed a much stronger desire to return home upon graduation. The three most influential predictors of their decision to return were the lack of a Hong Kong teaching certificate (r=+0.36), the opportunity to contribute to their hometown (r=+0.31) and the inclination to be closer to family and friends (r=+0.20). Originality/value While a number of studies have been carried out to study why Mainland Chinese students chose Hong Kong as their study destination to pursue their teacher training degree, none of these studies focused exclusively on fee-paying MEd Chinese students. Hong Kong is facing keen competition from both traditional host countries and emerging host countries to recruit students from Mainland China. It is therefore crucial to understand the needs of these Mainland Chinese students in a competitive, globalized, tertiary education market, as the satisfaction of students, in the form of positive discussion among alumni, promotes a university’s reputation and sustains its advantage in attracting students.

Sochi is a unique destination. The combination of the Caucasus and the Black Sea gives the opportunity to develop winter recreation in the mountains and summer activities in the coastal zone in parallel. Sochi evolved as a spa resort in the beginning of the 1900s and gained its specialization as a health resort for mass tourism in the 1930s. Consolidation and saturation stages took place in the 1970-80s on the rise of domestic tourism when Sochi turned into a year-round resort for seaside recreation. Sochi went through decline stage in the 1990s it but was able to recover when the city of Sochi had the honour to host the Olympic Games in 2014. Now Sochi combines diverse opportunities for tourism development, including events and business tourism. The Sochi Olympics were not just a sporting event. Huge funds spent on preparation for the Games, and the priority of the Russian Government, which was used by the city, were to serve two main purposes: on one hand, to give impulse to regional development, create a modern infrastructure and turn Sochi into a world-famous winter resort and, on the other hand, to present to the whole world a new image of Russia as an open, modern and attractive country. The games were intended to be a catalyst for the development of Sochi as a winter resort and, together with its reputation as a summer holiday destination, turn this area into a year-round tourist destination. The study focuses on the legacy of post-Olympic tourism in Sochi, its preservation, growth and effective work in relation to the life cycle of the tourist zone of Sochi. Historical perspective and field studies, statistical and content analysis supported by in-depth interviews of tourism subjects reveal the key tourism development problems and ways for their solution in the post-Olympic period. Further improvement of the year-round tourism product of Sochi requires additional efforts in marketing promotion, smoothing of seasonal fluctuations, organization of work of the operator company on management of Olympic facilities and expansion of new types of tourism activities.

PurposeThis study aims to empirically examine the most common appeals recommended for use in nation branding campaigns to attract and retain skilled professionals from abroad to enhance a country’s economic competitiveness. To assess this, the authors examine how the image and reputation of a country as a destination and location for talent compare to its actual performance in terms of attracting and retaining skilled professionals. This comparison provides useful insights into the aspects of a country’s reputation that matter most for attracting the talent it needs to enhance its competitiveness.Design/methodology/approachThis study uses a multivariate analysis to examine a sample of 122 countries using secondary data from the World Economic Forum, the World Bank, the UNDP and other non-governmental sources, such as the Martin Prosperity Institute at the University of Toronto. It then tests the results using a sample of 35 OECD countries to assess whether they apply to all types of countries equally.FindingsThe study finds that the two most important factors for ensuring that a country is maximizing its potential to attract skilled professionals are the availability of employment and the degree of ethnic and cultural diversity within the host country. The most important factor for ensuring that a country is maximizing its potential to retain talent, the study finds, is the availability of employment. This does not mean that other factors do not matter, but employment and diversity are crucial for attracting talent from abroad.Research limitations/implicationsThe study also tests the overall results of the study by using a smaller sample of 35 OECD countries. It finds that the availability of employment and high levels of GDP per capita (i.e. wealth) is important for attracting and retaining skilled professionals in more industrially developed countries.Originality/valueThis paper is one of the few empirical studies to examine nation branding to attract and retain talent from abroad to enhance national competitiveness. Its findings suggest that a multifaceted and holistic framework-based approach to nation branding to attract talent, such as that recommended by Silvanto and Ryan (2014), is less likely to work in the short term than an approach which primarily emphasizes employment and diversity.

Mobile Ad Hoc Networks (MANETs) are comprised of an arrangement of self-sorting mobile hosts furnished with wireless interaction devices gathered in groups without the need of any settled framework as well as centralized organization to maintain a system over radio connections. Every mobile node can react as a host and also, the router freely utilizes the wireless medium inside the correspondence range to deal with the interaction between huge quantities of individual mobile nodes by framing a correspondence system and trading the information among them without using any described group of the base station. A trust-based model in MANET estimates and sets up trust relationship among objectives. Trust-based routing is utilized to keep away data from different attackers like a wormhole, DOS, black-hole, selfish attack and so forth. Trust can be executed in different steps like reputation, subjective rationale and from the supposition of the neighboring node. A trust estimation approach not just watches the behavior of neighbor nodes, additionally it screens the transmission of the information packet in the identification of the route for exact estimation of trust value. A survey is carried out to find some of the limitations behind the existing works which has been done by the researchers to implement various approaches thus to build the trust management framework. Through the survey, it is observed that existing works focused only on the authenticated transmission of the message, how it transmits packets to the destination node securely using a trust-based scheme. And also, it is observed that the routing approach only focused on the key management issues. Certain limitation observed in the implemented approaches of existing work loses the reliability of framework. Thus, to withstand these issues it is necessary to establish a reliable security framework that protects the information exchanged among the users in a network while detecting various misbehaving attacks among the users. Confidentiality, as well as the integrity of information, can be secured by combining context-aware access control with trust management. The performance parameters should be evaluated with the previous works packet delivery ratio, packet drop, detection accuracy, number of false positives, and overhead.

In recent decades, there has been a significant increase in the number of students worldwide choosing to study abroad. In 2014, according to the Organization for Economic Cooperation and Development, about five million students studied abroad. The development of distance learning technologies contributes to the growth of mobility.Russia is an attractive destination for students’ mobility, both shortterm and long-term, and Russian universities compete for students in global markets. The internationalization of education, the increase in the number of international students at degree programs set new requirements for host universities, which should be taken into account in their strategies. This is the presence of a developed infrastructure at the university (laboratory equipment, well-equipped classrooms, modern dormitories, a library with access to a large number of electronic resources, etc.), high quality of teaching, accessible and friendly living environment at the university. In addition, various external factors that characterize the accessibility and attractiveness of the city and the country are important.The goal of our research is to identify the factors that are important for foreign students to choose Russian universities for master’s studies. The master’s level assumes that students themselves make an informed decision about studying abroad, as well as about the choice of country and direction of study, and also better understand what advantages foreign learning experience gives.The study was conducted by interviewing foreign students enrolled in Master’s programs at the National Research University Higher School of Economics in St. Petersburg. The choice of this particular educational institution is due to the high proportion of foreign students enrolled in Master’s programs (on English-language programs their share reaches 40%, and on average is about 13%); the presence of several programs of prestigious international accreditations, network programs (double diplomas, consortiums) and, in general, high positions of the university in international rankings; as well as the wide range of master programs for different areas of study. The survey involved foreign students enrolled in master’s programs (excluding short-term mobility programs). As a result, it was revealed that the reputation of the university, the availability of scholarship programs and grants, employment prospects in Russia or abroad after graduation, simplicity and transparency of the enrollment procedure are crucial for master’s students intending to study in Russia.The results obtained on the basis of a survey of students make it possible to clarify the set of factors identified from the analysis of the literature that affect students’ decision-making about their training in the Master’s programs in Russia. Their practical significance lies in the fact that they can be taken into account when developing university strategies and programs, as well as marketing campaigns aimed at attracting foreign graduate students.

The number of countries engaged in providing international education has grown consistently over the years. Traditionally, European countries and the US have been regarded as the only dominant destinations for overseas students. However, recent studies indicated that several new countries have emerged as study destinations. China, one of them, is on the rise in hosting international students. Through a systematic document analysis method, this paper sought to figure out the trend and primary reasons why international students choose China for their study destination. Long-time considered the world's largest sending country, China counts today among the top largest welcoming countries worldwide. In contrast to the recent studies conducted in some reputed higher education institutions in China claiming Chinese universities' reputation as the most pulling factor, this study reveals that, apart from other non-negligible factors, economic reason remains the major pulling factor of international students.

International student mobility has been increasingly subject to turbulences in politics, culture, economics, natural disasters, and public health. The new decade has witnessed an unprecedented disruption to international student flows and welfare as a consequence of the COVID-19 outbreak. COVID-19 has laid bare how fragile the current transactional higher education model is, in Australia and in other major destination countries like the United States, United Kingdom, Canada and New Zealand. This health crisis hitting international education presents a range of challenges for host universities. In such a fallout, the connection between university communities and international students is more critical than ever. This connection is vital not only to university’s operations and recovery but more importantly, to international students’ learning and wellbeing. This in turn will have longer term impacts on host countries’ and universities’ sustainable international recruitment and reputation as a study destination. Therefore, it is timely to reflect on how we view and conceptualize the way we engage and work with international students. This article presents a new frame for conceptualizing the teaching, learning, and engagement for international students, which emphasizes people-to-people empathy and people-to-people connections. Conceptualize Student Connection Through Formal and Informal Curriculum Dis/connection has been argued to play “an important role in shaping international students’ wellbeing, performance and life trajectories” (Tran & Gomes, 2017, p. 1). Therefore, it is important to frame international student connectedness not only within the context of formal teaching and learning on campus, but also in a broader setting, taking into account the dynamic, diverse, and fluid features of transnational mobility. Some of the primary dimensions of international student connection vital to their academic and social experience and wellbeing have been identified as: • Connection with the content and process of teaching and learning• Bonding between host teachers and international students• Engagement with the university communities• Interaction between domestic and international students and among international peers• Integration into relevant social and professional networks, the host community, and the host society• Connection with family and home communities• Online and digital connection Based on interviews with around 400 international students, teachers, and international student support staff across different research projects, I identified four main principles underpinning effective engagement and support for international students. Most participants stressed the importance of understanding international students’ study purposes, needs, expectations, and characteristics in the first place in order to meaningfully and productively engage with and cater for this cohort (Tran, 2013). Second, effective teaching of and engagement with international students is based on understanding not only their academic needs but also other aspects that are interlinked with their academic performance, including pastoral care needs, mental health, employment, accommodation, finance, life plans, and aspirations. Third, a sense of belonging to the content of teaching and learning and the pedagogy used by teachers is essential to international students’ engagement with the classroom community. In this regard, connection is intimately linked to international students being included and valued intellectually and culturally in teaching and learning, and in being treated as partners (Green, 2019; Tran, 2013) rather than ‘others’ in the curriculum. Fourth, to position international students as truly an integral component of campus communities, it is essential to develop explicit approaches to engage them not only academically and interculturally, but also mentally and emotionally, especially during hard-hitting crises in international education such as the 2019–2020 COVID-19 outbreak, the 2003 SARS epidemic, and the 2001 September 11 attacks. Productive Connectedness The lack of engagement between international and domestic students is often identified as a primary area for improvement for universities that host international students, especially in Anglophone countries (Leask, 2009). While international education is supposed to strengthen people-to-people connections and enrich human interactions, ironically it is this lack of connection with the local community, including local students, that international students feel most dissatisfied about in their international education experience. To support and optimize the learning and wellbeing of international students, productive connectedness is essential. Productive connectedness is not simply providing the mere conditions for interaction between domestic and international peers (Tran & Pham, 2016). These conditions alone cannot ensure meaningful and real connectedness but can just lead to artificial or surface engagement between international students and the host communities. Productive connectedness is centered around creating real opportunities for international and local students to not only increase their mutual understandings, but importantly also to reciprocally learn from the encounter of differences and share, negotiate, and contribute to building knowledge, cultural experiences, and skills on a more equal basis. In this regard, productive connectedness is integral to optimizing teaching and learning for international students. Teaching and Learning for International Students Over the past 15 years, I and my colleagues have undertaken various research on conceptualizing the teaching and learning process for international students, an evolving and dynamic field of scholarship (Tran, 2011; Tran, 2013a, 2013b; Tran & Nguyen, 2015; Tran & Gomes, 2017; Tran & Pham, 2016). Figure 1 summarizes the six interrelated dimensions of teaching and learning for international students emerging from our research: connecting, accommodating, reciprocating, integrating, “relationalizing,” and empathy. Connecting It is critical in effective teaching and learning for international students that conditions are provided to engage them intellectually, culturally, socially, and affectively. Curriculum, pedagogies, and assessment activities should aim at supporting international students to make transnational knowledge, skills, experience, and culture, as well as people-to-people connections (Tran, 2013). Accommodating Effective teaching and learning for international students cannot be achieved without an effort to understand their purposes to undertake international education, their cultural and educational backgrounds, their characteristics, their identities, and their aspirations. Good teaching and learning practices in international education are often built on educators’ capacities to tailor their curriculum and pedagogies to cater to international students based on an understanding of their study purposes, backgrounds, and identities. Reciprocating Reciprocal learning and teaching is integral to international education (Tran, 2011). It is centered around positioning international students as co-constructors of knowledge and educators as reciprocal co-learners (Tran, 2013b). It refers to extending beyond mutual understanding and respect for diversity, to validate and reciprocally learn from diverse resources, experiences, and encounters of differences that international classrooms can offer. This is vital to making international students feel included and valued as an integral part of the curriculum and the university community. Integrating Integrating refers to the purposeful incorporation of international examples, case studies, materials, and perspectives into the curriculum. Strategies to diversify the teaching and learning content and pedagogies are closely connected with de- Westernizing the curriculum and moving away from Euro-centric content (Tran, 2013a). Integrating contributes to enriching students’ global awareness, world mindfulness, and intercultural competence, which are central to internationalizing student experience and outcomes. “Relationalizing” “Relationalizing” is crucial in assisting domestic and international students to develop open-minded and ethno-relative perspectives. Engaging students in a comparing–contrasting and reflexive process about professional practices, prior experiences, and cultural norms in different countries represents a critical step in assisting them to develop multiple frames of reference and build capacities to relationally learn from richly varied perspectives and experiences that an international classroom can offer. Empathy International students’ sense of belonging to the classroom and university community significantly depends on the empathy local teachers and students display toward them. Teachers can develop activities that enable students to develop an understanding and empathy toward what it feels like to be an international student in an unfamiliar academic and social environment, studying in a language that is not their mother tongue. One of the teacher-participants in our research shared an activity she used to help all students develop empathy:I asked for volunteers, I’d speak to them in English and they had to answer in their language. The group had to try and figure out from their body language and tone of voice what they were actually saying to me...But what I try and make them understand that part of the reason we’re doing that, not in English, is because it’s like excluding the local students and it’s making them look like foreigners and to understand the challenge. Conclusion Effective practices in engaging, teaching, and learning for international students enrich the international classroom community and optimize learning for all, including international and domestic students and teachers themselves (Carroll & Ryan, 2007; Tran, 2013b; Tran & Le, 2018). Good pedagogical practices in teaching and learning for international students depend on teachers’ commitment to step outside of their comfort zone and take on a new learning curve (Tran, 2013). It is, however, vital that internationalizing teaching and learning and building intercultural interactions among students from diverse backgrounds and—in particular between international and domestic students—should be prioritized at both program and course development levels, making them explicit in course objectives and assessments (Tran & Pham, 2016). It is crucial to have a coherent whole-institution approach toward a purposeful, transformative, and empathetic internationalization of teaching and learning content, pedagogies, and assessment, one that is supported by the broader institution’s core goals about internationalizing the student experience and graduate outcomes. An internationalized program of learning for international and domestic students alike should prioritize enhancing their abilities to learn from global encounters, abilities to connect and empathize, skills to navigate intercultural relationships, and skills to capitalize on opportunities and also to deal with pressures and challenges. Importantly, the teaching and learning for international students needs to be built on an approach emphasizing people-to-people empathy and people-to-people connections.

University reputation and destination image are key factors shaping the choice to study in developed Western countries. While East Asia is emerging as a new contender in the international higher education market, little is known about how international students perceive and are attracted to the higher education institutions in this region. Moreover, while the destination image was represented by the host country image in most studies, the effect of city image on study destination choice should be given more attention due to the geographic and social embeddedness of universities in cities. This study drew the survey data from a flagship university in Taipei to examine the impact of university reputation and city image on international student destination choice, and employed factor analysis to identify the dimensions of university reputation and city image. The analysis confirms university reputation and city image as important elements in international student destination choice in the Asian context. It further identifies four factors creating discrepant weighting of these two elements in study destination choice: degree/non-degree program, level of study, type of international student identity, and region of origin. Theoretical and policy implications of findings are discussed at the end of the paper.

Student mobility has become a global phenomenon with an upward trend in the past two decades, and Asian countries are becoming important receiving countries. Such phenomenon has been increasingly investigated producing a growing body of literature on Asia-bound international student mobility. However, while some countries stand in the spotlight of international student scholarship, other lesser known destinations remain underrepresented. This article provides an exploratory effort to examine factors that attract international students to Vietnam, a country which has not been visible on international student mobility landscape as a receiving destination. The study employs push–pull factors framework and a mixed methods approach combining qualitative and quantitative methods (n = 94) to examine the push–pull factors that influence the decision of international students to choose Vietnam as the destination country and a Vietnamese higher education institution as host institution. Research findings show that major push factors include aspirations for new experiences, home country economic outlook and pessimistic job prospects at home. Regarding pull factors, at national level, bright economic prospect is the top pull factor attracting international students to a developing country like Vietnam, and at institutional level, the university’s reputation and its Vietnamese Studies and language programmes are the most important pull factors attracting international students to the university to study. Based on the research results, recommendations are proposed for higher education institutions in Vietnam and other developing Asian countries to attract international students with implications against the context of the ongoing COVID-19 pandemic.

PurposeThis study aims at understanding how professional sports events compete with each other to attract spectators, sponsors and media coverage, by referring to the resource-based view (RBV) theory, which interprets firms as a bundle of idiosyncratic resources and capabilities. Specifically, the authors aim to identify the value-creating resources that support event success in the long run.Design/methodology/approachThe authors conducted a literature review on RBV and sports events, which provided the analytic categories used for on a cross-case analysis of popular cycling events held in Italy.FindingsEach event has different value-creating resources, depending on its governance model. Specifically, organisational knowledge accumulated over time by a stable event promoter/organiser enables an understanding of stakeholders’ needs and leads to a competitive advantage. As for events with temporary organising committees, event reputation is decisive to their long-term success. Here, event promoters play a key role in managing reputation over time, i.e., properly selecting host countries, balancing their cultural differences and supporting their capacity to produce long-term benefits.Originality/valueSports events may be leveraged within place-branding strategies to increase the attractiveness and level of socio-economic development of a destination. It is thus important to understand the competitive dynamics among sports events. The existing studies have focused on event organisers while underestimating the contribution of sports organisations and/or private companies that promote sport events. This study adopts a broad perspective that takes account of both promoters and organisers in order to verify whether and how the governance model affects the resources relevant to the event’s success.

IntroductionAs both a historical and cultural entity, the city of New Orleans has long-maintained a reputation as a centre for hedonistic and carnivaleque pleasures. Historically, images of mardi gras, jazz, and parties on the shores of the Mississippi have pervaded the cultural vision of the city as a “mecca” for “social life” (Marina 2), and successfully fed its tourism narratives. Simultaneously, however, a different kind of narrative also exists in the historical folds of the city’s urban mythology. Many tales of vampire sightings and supernatural accounts surround the area, and have contributed, over the years, to the establishment and mystification of New Orleans as a ‘vampire city’. This has produced, in turn, its own brand of vampire tourism (Murphy 2015). Mixed with historical rumours and Gothic folklore, the recent narratives of popular culture lie at the centre of the re-imagination of New Orleans as a vampire hub. Taking this idea as a point of departure, this article provides culturally- and historically-informed critical considerations of New Orleans as a ‘vampire city’, especially as portrayed in The Originals (2013-2017), a contemporary television series where vampires are the main protagonists. In the series, the historical narratives of New Orleans become entangled with – and are, at times, almost inseparable from – the fictional chronicles of the vampire in both aesthetic and conceptual terms.The critical connection between urban narratives and vampires representation, as far as New Orleans is concerned, is profoundly entangled with notions of both tourism and fictionalised popular accounts of folklore (Piatti-Farnell 172). In approaching the conceptual relationship between New Orleans as a cultural and historical entity and the vampire — in its folkloristic and imaginative context — the analysis will take a three-pronged approach: firstly, it will consider the historical narrative of tourism for the city of New Orleans; secondly, the city’s connection to vampires and other Gothicised entities will be considered, both historically and narratively; and finally, the analysis will focus on how the connection between New Orleans and Gothic folklore of the vampire is represented in The Originals, with the issue of cultural authenticity being brought into the foreground. A critical footnote must be given to the understanding of the term ‘New Orleans’ in this article as meaning primarily the French Quarter – or, the Vieux Carre – and its various representations. This geographical focus principally owes its existence to the profound cultural significance that the French Quarter has occupied in the history of New Orleans as a city, and, in particular, in its connection to narratives of magic and Gothic folklore, as well as the broader historical and contemporary tourism structures. A History of TourismSocial historian Kevin Fox Gotham agues that New Orleans as a city has been particularly successful in fabricating a sellable image of itself; tourism, Gotham reminds us, is about “the production of local difference, local cultures, and different local histories that appeal to visitors’ tastes for the exotic and the unique” (“Gentrification” 1100). In these terms, both the history and the socio-cultural ‘feel’ of the city cannot be separated from the visual constructs that accompany it. Over the decades, New Orleans has fabricated a distinct network of representational patterns for the Vieux Carre in particular, where the deployment of specific images, themes and motifs – which are, in truth, only peripherally tied to the city’ actual social and political history, and owe their creation and realisation more to the success of fictional narratives from film and literature – is employed to “stimulate tourist demands to buy and consume” (Gotham, “Gentrification” 1102). This image of the city as hedonistic site is well-acknowledged, has to be understood, at least partially, as a conscious construct aimed at the production an identity for itself, which the city can in turn sell to visitors, both domestically and internationally. New Orleans, Gotham suggests, is a ‘complex and constantly mutating city’, in which “meanings of place and community” are “inexorably intertwined with tourism” (Authentic 5). The view of New Orleans as a site of hedonistic pleasure is something that has been heavily capitalised upon by the tourism industry of the city for decades, if not centuries. A keen look at advertising pamphlets for the city, dating form the late Nineteenth century onwards, provides an overview of thematic selling points, that primarily focus on notions of jazz, endless parties and, in particular, nostalgic and distinctly rose-tinted views of the Old South and its glorious plantations (Thomas 7). The decadent view of New Orleans as a centre of carnal pleasures has often been recalled by scholars and lay observers alike; this vision of he city indeed holds deep historical roots, and is entangled with the city’s own economic structures, as well as its acculturated tourism ones. In the late 19th and early 20th century one of the things that New Orleans was very famous for was actually Storyville, the city’s red-light district, sanctioned in 1897 by municipal ordinance. Storyville quickly became a centralized attraction in the heart of New Orleans, so much so that it began being heavily advertised, especially through the publication of the ‘Blue Book’, a resource created for tourists. The Blue Book contained, in alphabetical order, information on all the prostitutes of Storyville. Storyville remained very popular and the most famous attraction in New Orleans until its demolition in 1919 Anthony Stanonis suggests that, in its ability to promote a sellable image for the city, “Storyville meshed with the intersts of business men in the age before mass tourism” (105).Even after the disappearance of Storyville, New Orleans continued to foster its image a site of hedonism, a narrative aided by a favourable administration, especially in the 1930s and 1940s. The French Quarter, in particular, “became a tawdry mélange of brothers and gambling dens operating with impunity under lax law enforcement” (Souther 16). The image of the city as a site for pleasures of worldly nature continued to be deeply rooted, and even survives in the following decades today, as visible in the numerous exotic dance parlours located on the famous Bourbon Street.Vampire TourismSimultaneously, however, a different kind of narrative also exists in the recent historical folds of the city’s urban mythology, where vampires, magic, and voodoo are an unavoidable presence. Many tales of vampire sightings and supernatural accounts surround the area, and have contributed, over the years, to the establishment and mystification of New Orleans as a ‘vampire city’. Kenneth Holditch contends that ‘”New Orleans is a city in love with its myths, mysteries and fantasies” (quoted in McKinney 8). In the contemporary era, these qualities are profoundly reflected in the city’s urban tourism image, where the vampire narrative is pushed into the foreground. When in the city, one might be lucky enough to take one of the many ‘vampire tours’ — often coupled with narratives of haunted locations — or visit the vampire bookshop, or even take part in the annual vampire ball. Indeed, the presence of vampires in New Orleans’s contemporary tourism narrative is so pervasive that one might be tempted to assume that it has always occupied a prominent place in the city’s cultural fabric. Nonetheless, this perception is not accurate: the historical evidence from tourism pamphlets for the city do not make any mentions of vampire tourism before the 1990s, and even then, the focus on the occult side of new Orleans tended to privilege stories of voodoo and hoodoo — a presence that still survives strongly in the cultural narrative city itself (Murphy 91). While the connection between vampires and New Orleans is a undoubtedly recent one, the development and establishment of New Orleans as vampire city cannot be thought of as a straight line. A number of cultural and historical currents appear to converge in the creation of the city’s vampire mystique. The history and geography of the city here could be an important factor, and a useful starting point; as the site of extreme immigration and ethnic and racial mingling New Orleans holds a reputation for mystery. The city was, of course, the regrettable site of a huge marketplace for the slave trade, so discussions of political economy could also be important here, although I’ll leave them for another time. As a city, New Orleans has often been described – by novelists, poets, and historians alike – as being somewhat ‘peculiar’. Simone de Behaviour was known to have remarked that that the city is surrounded by a “pearl grey” and ‘luminous’ air” (McKinney 1). In similar fashion, Oliver Evans claims the city carries “opalescent hints” (quoted in McKinney 1). New Orleans is famous for having a quite thick mist, the result of a high humidity levels in the air. To an observing eye, New Orleans seems immersed in an almost otherworldly ‘glow’, which bestows upon its limits an ethereal and mysterious quality (Piatti-Farnell 173). While this intention here is not to suggest that New Orleans is the only city to have mist – especially in the Southern States – one might venture to say that this physical phenomenon, joined with other occurrences and legends, has certainly contributed to the city’s Gothicised image. The geography of the city also makes it sadly famous for floods and their subsequent devastation, which over centuries have wrecked parts of the city irrevocably. New Orleans sits at a less than desirable geographical position, is no more than 17 feet above sea level, and much of it is at least five feet below (McKinney 5). In spite of its lamentable fame, hurricane Katrina was not the first devastating geo-meteorological phenomenon to hit and destroy most of New Orleans; one can trace similar hurricane occurrences in 1812 and 1915, which at the time significantly damaged parts of the French Quarter. The geographical position of New Orleans also owes to the city’s well-known history of disease such as the plague and tuberculosis – often associated, in previous centuries, with the miasma proper to reclaimed river lands. In similar terms, one must not forget New Orleans’s history of devastating fires – primarily in the years 1788, 1794, 1816, 1866 and 1919 – which slowly destroyed the main historical parts of the city, particularly in the Vieux Carre, and to some extent opened the way for regeneration and later gentrification as well. As a result of its troubled and destructive history, Louise McKinnon claims that the city ‒ perhaps unlike any others in the United States ‒ hinges on perpetual cycles of destruction and regeneration, continuously showing “the wear and tear of human life” (McKinney 6).It is indeed in this extremely important element that New Orleans finds a conceptual source in its connection to notions of the undead, and the vampire in particular. Historically, one can identify the pervasive use of Gothic terminology to describe New Orleans, even if, the descriptions themselves were more attuned to perceptions of the city’s architecture and metrological conditions, rather than the recollection of any folklore-inspired narratives of unread creatures. Because of its mutating, and often ill-maintained historical architecture – especially in the French Quarter - New Orleans has steadily maintained a reputation as a city of “splendid decay” (McKinney, 6). This highly lyrical and metaphorical approach plays an important part in building the city as a site of mystery and enchantment. Its decaying outlook functions as an unavoidable sign of how New Orleans continues to absorb, and simultaneously repel, as McKinney puts it, “the effects of its own history” (6).Nonetheless, the history of New Orleans as a cultural entity, especially in terms of tourism, has not been tied to vampires for centuries, as many imagine, and the city itself insists in its contemporary tourism narratives. Although a lot of folklore has survived around the city in connection to magic and mysticism, for a number of reasons, vampires have not always been in the foreground of its publicised cultural narratives. Mixed with historical rumours and Gothic folklore, the recent narratives of popular culture lie at the centre of the re-imagination of New Orleans as a vampire spot: most scholars claim that it all started with the publication of Anne Rice’s Interview with the Vampire (1976), but actually evidence shows that the vampire narrative for the city of New Orleans did not fully explode until the release of Neil Jordan’s cinematic adaptation of Interview with the Vampire (1994). This film really put New Orleans at the centre of the vampire narrative, indulging in the use of many iconic locations in the city as tied to vampire, and cementing the idea of New Orleans as a vampiric city (Piatti-Farnell 175). The impact of Rice’s work, and its adaptations, has also been picked up by numerous other examples of popular culture, including Charlaine Harris’s Southern Vampire mystery series, and its well-known television adaptation True Blood. Harris herself states in one of her novels: “New Orleans had been the place to go for vampires and those who wanted to be around them ever since Anne Rice had been proven right about their existence” (2). In spite of the fact that popular culture, rather than actual historical evidence, lies at the heart of the city’s cultural relationship with vampires, this does not detract from the fact that vampires themselves – as fabricated figures lying somewhere between folklore, history, and fiction – represent an influential part of New Orleans’s contemporary tourism narrative, building a bridge between historical storytelling, mythologised identities, and consumerism. The Originals: Vampires in the CityIndeed, the impact of popular culture in establishing and re-establishing the success of the vampire tourism narrative in New Orleans is undeniable. Contemporary examples continue to capitalise on the visual, cultural, and suggestively historical connection between the city’s landmarks and vampire tales, cementing the notion of New Orleans as a solid entity within the Gothic tourism narrative. One such successful example is The Originals. This television show is actually a spin-off of the Vampires Diaries, and begins with three vampires, the Mikaelson siblings (Niklaus, Elijah, and Rebekkah) returning to the city of New Orleans for the first time since 1919, when they were forced to flee by their vengeful father. In their absence, Niklaus's protégé, Marcel, took charge of the city. The storyline of The Originals focuses on battles within the vampire factions to regain control of the city, and eliminate the hold of other mystical creatures such as werewolves and witches (Anyiwo 175). The central narrative here is that the city belongs to the vampire, and there can be no other real Gothic presence in the Quarter. One can only wonder, even at this embryonic level, how this connects functions in a multifaceted way, extending the critique of the vampire’s relationship to New Orleans from the textual dimension of the TV show to the real life cultural narrative of the city itself. A large number of the narrative strands in The Originals are tied to city and its festivals, its celebrations, and its visions of the past, whether historically recorded, or living in the pages of its Gothic folklore. Vampires are actually claimed to have made New Orleans what it is today, and they undoubtedly rule it. As Marcel puts it: “The blood never stops flowing, and the party never ends” (Episode 1, “Always and Forever”). Even the vampiric mantra for New Orleans in The Originals is tied to the city’s existing and long-standing tourism narrative, as “the party never ends” is a reference to one of Bourbon Street’s famous slogans. Indeed, the pictorial influence of the city’s primary landmarks in The Originals is undeniable. In spite of the fact the inside scenes for The Originals were filmed in a studio, the outside shots in the series reveal a strong connections to the city itself, as viewers are left with no doubt as to the show’s setting. New Orleans is continuously mentioned and put on show – and pervasively referred to as “our city”, by the vampires. So much so, that New Orleans becomes the centre of the feud between supernatural forces, as the vampires fight witches and werewolves – among others- to maintain control over the city’s historical heart. The French Quarter, in particular, is given renewed life from the ashes of history into the beating heart of the vampire narrative, so much so that it almost becomes its own character in its own right, instrumental in constructing the vampire mystique. The impact of the vampire on constructing an image for the city of New Orleans is made explicit in The Originals, as the series explicitly shows vampires at the centre of the city’s history. Indeed, the show’s narrative goes as far as justifying the French Quarter’s history and even legends through the vampire metaphor. For instance, the series explains the devastating fire that destroyed the French Opera House in 1919 as the result of a Mikaelson vampire family feud. In similar terms, the vampires of the French Quarter are shown at the heart of the Casquette Girls narrative, a well-known tale from Eighteenth-century colonial New Orleans, where young women were shipped from France to the new Louisiana colony, in order to marry. The young women were said to bring small chests – or casquettes – containing their clothes (Crandle 47). The Originals, however, capitalises on the folkloristic interpretation that perceives the girls’ luggage as coffins potentially containing the undead, a popular version of the tale that can often be heard if taking part in one of the many vampire tours in New Orleans. One can see here how the chronicles of the French Quarter in New Orleans and the presumed narratives of the vampire in the city merge to become one and the same, blurring the lines between history and fiction, and presenting the notion of folklore as a verifiable entity of the everyday (Kirshenblatt-Gimblett 25) It is essential to remember, en passant, that, as far as giving the undead their own historical chronicles in connection to New Orleans, The Originals is not alone in doing this. Other TV series like American Horror Story have provided Gothicised histories for the city, although in this case more connected to witchcraft, hoodoo, and voodoo, rather than vampires.What one can see taking place in The Originals is a form of alternate and revisionist history that is reminiscent of several instances of pulp and science fiction from the early 20th century, where the Gothic element lies at the centre of not only the fictional narrative, but also of the re-conceptualisation of historical time and space, as not absolute entities, but as narratives open to interpretation (Singles 103). The re-interpretation here is of course connected to the cultural anxieties that are intrinsic to the Gothic – of changes, shifts, and unwanted returns - and the vampire as a figure of intersections, signalling the shift between stages of existence. If it is true that, to paraphrase Paul Ricoeur’s famous contention, the past returns to “haunt” us (105), then the history of New Orleans in The Originals is both established and haunted by vampires, a pervasive shadow that provides the city itself with an almost tangible Gothic afterlife. This connection, of course, extends beyond the fictional world of the television series, and finds fertile ground in the cultural narratives that the city constructs for itself. The tourism narrative of New Orleans also lies at the heart of the reconstructive historical imagination, which purposefully re-invents the city as a constructed entity that is, in itself, extremely sellable. The Originals mentions on multiple occasions that certain bars — owned, of course, by vampires — host regular ‘vampire themed events’, to “keep the tourists happy”. The importance of maintaining a steady influx of vampire tourism into the Quarter is made very clear throughout, and the vampires are complicit in fostering it for a number of reasons: not only because it provides them and the city with a constant revenue, but also because it brings a continuous source of fresh blood for the vampires to feed on. As Marcel puts it: “Something's gotta draw in the out-of-towners. Otherwise we'd all go hungry” (Episode 1, “Always and Forever”). New Orleans, it is made clear, is not only portrayed as a vampire hub, but also as a hot spot for vampire tourism; as part of the tourism narratives, the vampires themselves — who commonly feign humanity — actually further ‘pretend’ to be vampires for the tourists, who expect to find vampires in the city. It is made clear in The Originals that vampires often put on a show – and bear in mind, these are vampires who pretend to be human, who pretend to be vampires for the tourists. They channel stereotypes that belong in Gothic novels and films, and that are, as far as the ‘real’ vampires of the series, are concerned, mostly fictional. The vampires that are presented to the tourists in The Originals are, inevitably, inauthentic, for the real vampires themselves purposefully portray the vision of vampires put forward by popular culture, together with its own motifs and stereotypes. The vampires happily perform their popular culture role, in order to meet the expectations of the tourist. This interaction — which sociologist Dean MacCannell would refer to, when discussing the dynamics of tourism, as “staged authenticity” (591) — is the basis of the appeal, and what continues to bring tourists back, generating profits for vampires and humans alike. Nina Auerbach has persuasively argued that the vampire is often eroticised through its connections to the “self-obsessed’ glamour of consumerism that ‘subordinates history to seductive object” (57).With the issue of authenticity brought into sharp relief, The Originals also foregrounds questions of authenticity in relation to New Orleans’s own vampire tourism narrative, which ostensibly bases into historical narratives of magic, horror, and folklore, and constructs a fictionalised urban tale, suitable to the tourism trade. The vampires of the French Quarter in The Originals act as the embodiment of the constructed image of New Orleans as the epitome of a vampire tourist destination. ConclusionThere is a clear suggestion in The Originals that vampires have evolved from simple creatures of old folklore, to ‘products’ that can be sold to expectant tourists. This evolution, as far as popular culture is concerned, is also inevitably tied to the conceptualisation of certain locations as ‘vampiric’, a notion that, in the contemporary era, hinges on intersecting narratives of culture, history, and identity. Within this, New Orleans has successfully constructed an image for itself as a vampire city, exploiting, in a number ways, the popular and purposefully historicised connection to the undead. In both tourism narratives and popular culture, of which The Originals is an ideal example, New Orleans’s urban image — often sited in constructions and re-constructions, re-birth and decay — is presented as a result of the vampire’s own existence, and thrives in the Gothicised afterlife of imagery, symbolism, and cultural persuasion. In these terms, the ‘inauthentic’ vampires of The Originals are an ideal allegory that provides a channelling ground for the issues surrounding the ‘inauthentic’ state of New Orleans a sellable tourism entity. As both hinge on images of popular representation and desirable symbols, the historical narratives of New Orleans become entangled with — and are, at times, almost inseparable from — the fictional chronicles of the vampire in both aesthetic and conceptual terms. ReferencesAnyiwo, U. Melissa. “The Female Vampire in Popular Culture.” Gender in the Vampire Narrative. Eds. Amanda Hobson and U. Melissa Anyiwo. Rotterdam: Sense Publishers, 2016. 173-192. Auerbach, Nina. Our Vampires, Ourselves. Chicago: University of Chicago Press, 1995.Crandle, Marita Woywod. New Orleans Vampires: History and Legend. Stroud: The History Press, 2017.Gotham, Kevin Fox. Authentic New Orleans: Tourism, Culture, and Race in the Big Easy. New York: New York University Press, 2007.———. “Tourism Gentrification: The Case of New Orleans’ Vieux Carre’.” Urban Studies 42.7 (2005): 1099-1121. Harris, Charlaine. All Together Dead. London: Gollancz, 2008.Interview with the Vampire. Dir. Neil Jordan. Geffen Pictures, 1994. Kirshenblatt-Gimblett, Barbara. “Mistaken Dichotomies.” Public Folklore. Eds. Robert Baron and Nick Spitzer. Oxford: University of Missisippi Press, 2007. 28-48.Marina, Peter J. Down and Out in New Orleans: Trangressive Living in the Informal Economy. New York: Columia University Press, 2017. McKinney, Louise. New Orleans: A Cultural History. Oxford: Oxford University Press, 2006.Murphy, Michael. Fear Dat New Orleans: A Guide to the Voodoo, Vampires, Graveyards & Ghosts of the Crescent City. New York: W.W. Norton & Company, 2015.Piatti-Farnell, Lorna. The Vampire in Contemporary Popular Literature. London: Routledge, 2014. Ricoeur, Paul. Memory, History, Forgetting. Chicago: University of Chicago Press, 2004. Singles, Kathleen. Alternate History: Playing with Contingency and Necessity. Boston: de Gruyter, 2013.Souther, Mark. New Orleans on Parade: Tourism and the Transformation of the Crescent City. Baton Rouge: University of Louisiana Press, 2006. Stanonis, Anthony J. Creating the Big Easy: New Orleans and the Emergence of Modern Tourism, 1918-1945. Athens: University of Georgia Press, 2006.The Originals. Seasons 1-4. CBS/Warner Bros Television. 2013-2017.Thomas, Lynell. Desire and Disaster in New Orleans: Tourism, Race, and Historical Memory. Durham: Duke University Press, 2014.

The Netflix/BBC eight-part limited true crime series The Serpent (2021) provides a commentary on the impact of the tourist industry in South-East Asia in the 1970s. The series portrays the story of French serial killer Charles Sobhraj (played by Tahar Rahim)—a psychopathic international con artist of Vietnamese-Indian descent—who regularly targeted Western travellers, especially the long-term wanderers of the legendary “Hippie Trail” (or the “Overland”), running between eastern Europe and Asia. The series, which was filmed on location in Thailand—in Bangkok and the Thai town of Hua Hin—is set in a range of travel destinations along the route of the Hippie Trail, as the narrative follows the many crimes of Sobhraj. Cities such as Kathmandu, Goa, Varanasi, Hong Kong, and Kabul are featured on the show. The series is loosely based upon Australian writers Richard Neville and Julie Clarke’s true crime biography The Life and Crimes of Charles Sobhraj (1979). Another true crime text by Thomas Thompson called Serpentine: Charles Sobhraj’s Reign of Terror from Europe to South Asia (also published in 1979) is a second reference. The show portrays the disappearance and murders of many young victims at the hands of Sobhraj. Certainly, Sobhraj is represented as a monstrous figure, but what about the business of tourism itself? Arguably, in its reflective examination of twentieth-century travel, the series also poses the hedonism of tourism as monstrous. Here, attention is drawn to Western privilege and a neo-orientalist gaze that presented Asia as an exotic playground for its visitors. The television series focuses on Sobhraj, his French-Canadian girlfriend Marie-Andrée Leclerc (played by Jenna Coleman), and the glamourous life they lead in Bangkok. The fashionable couple’s operation presents Sobhraj as a legitimate gem dealer: outwardly, they seem to embody the epitome of fun and glamour, as well as the cross-cultural sophistication of the international jet set. In reality, they drug and then steal from tourists who believe their story. Sobhraj uses stolen passports and cash to travel internationally and acquire more gems. Then, with an accomplice called Ajay Chowdhury (played by Amesh Adireweera), Sobhraj murders his victims if he thinks they could expose his fraud. Often depicted as humourless and seething with anger, the Sobhraj of the series often wears dark aviator sunglasses, a detail that enhances the sense of his impenetrability. One of the first crimes featured in The Serpent is the double-murder of an innocent Dutch couple. The murders lead to an investigation by Dutch diplomat Herman Knippenberg (played by Billy Howle), wanting to provide closure for the families of the victims. Knippenberg enlists neighbours to go undercover at Sobhraj’s home to collect evidence. This exposes Sobhraj’s crimes, so he flees the country with Marie-Andrée and Ajay. While they were apprehended, Sobhraj would be later given pardon from a prison in India: he would only received a life sentence for murder when he is arrested in Nepal in 2003. His ability to evade punishment—and inability to admit to and atone for his crimes—become features of his monstrosity in the television series. Clearly, Sobhraj is represented as the “serpent” of this drama, a metaphor regularly reinforced both textually and visually across the length of the series. As an example, the opening credit sequence for the series coalesces shots of vintage film in Asia—including hitchhiking backpackers, VW Kombi vans, swimming pools, religious tourist sites, corrupt Asian police forces—against an animated map of central and South-East Asia and the Hippie Trail. The map is encased by the giant, slithering tail of some monstrous, reptilian creature. Situating the geographic context of the narrative, the serpentine monster appears to be rising out of continental Asia itself, figuratively stalking and then entrapping the tourists and travellers who move along its route. So, what of the other readings about the monstrosity of the tourism industry that appears on the show? The Hippie Trail was arguably a site—a serpentine cross-continental thoroughfare—of Western excess. The Hippie Trail emerged as the result of the ease of travel across continental Europe and Asia. It was an extension of a countercultural movement that first emerged in the United States in the mid 1960s. Agnieszka Sobocinska has suggested that the travellers of the Hippie Trail were motivated by “widespread dissatisfaction with the perceived conservatism of Western society and its conventions”, and that it was characterised by “youth, rebellion, self-expression and the performance of personal freedom” (par. 8). The Trail appealed to a particular subcultural group who wanted to differentiate themselves from other travellers. Culturally, the Hippie Trail has become a historical site of enduring fascination, written about in popular histories and Western travel narratives, such as A Season in Heaven: True Tales from the Road to Kathmandu (Tomory 1998), Magic Bus: On the Hippie Trail from Istanbul to India (MacLean 2007), The Hippie Trail: A History (Gemie and Ireland 2017), and The Hippie Trail: After Europe, Turn Left (Kreamer 2019). Despite these positive memoirs, the route also has a reputation for being destructive and even neo-imperialist: it irrevocably altered the politics of these Asian regions, especially as crowds of Western visitors would party at its cities along the way. In The Serpent, while the crimes take place on its route, on face value the Hippie Trail still appears to be romanticised and nostalgically re-imagined, especially as it represents a stark difference from our contemporary world with its heavily-policed international borders. Indeed, the travellers seem even freer from the perspective of 2021, given the show’s production phase and release in the midst of the COVID-19 pandemic, when international travel was halted for many. As Kylie Northover has written in a review for the series in the Sydney Morning Herald, the production design of the programme and the on-location shoot in Thailand is affectionately evocative and nostalgic. Northover suggests that it “successfully evokes a very specific era of travel—the Vietnam War has just ended, the Summer of Love is over and contact with family back home was usually only through the post restante” (13). On the show, there is certainly critique of the tourist industry. For example, one scene demonstrates the “dark side” of the Hippie Trail dream. Firstly, we see a psychedelic-coloured bus of travellers driving through Nepal. The outside of the bus is covered with its planned destinations: “Istanbul. Teheran. Kabul. Delhi”. The Western travellers are young and dressed in peasant clothing and smoking marijuana. Looking over at the Himalayas, one hippie calls the mountains a “Shangri-La”, the fictional utopia of an Eastern mountain paradise. Then, the screen contracts to show old footage of Kathmandu— using the small-screen dimensions of a Super-8 film—which highlights a “hashish centre” with young children working at the front. The child labour is ignored. As the foreign hippie travellers—American and English—move through Kathmandu, they seem self-absorbed and anti-social. Rather than meeting and learning from locals, they just gather at parties with other hippies. By night-time, the series depicts drugged up travellers on heroin or other opiates, disconnected from place and culture as they stare around aimlessly. The negative representation of hippies has been observed in some of the critical reviews about The Serpent. For example, writing about the series for The Guardian, Dorian Lynskey cites Joan Didion’s famous “serpentine” interpretation of the hippie culture in the United States, applying this to the search for meaning on the Hippie Trail: the subculture of expats and travellers in south-east Asia feels rather like Joan Didion’s 60s California, crisscrossed by lost young people trying to find themselves anew in religion, drugs, or simply unfamiliar places. In Slouching Towards Bethlehem, Didion writes of those who “drifted from city to torn city, sloughing off both the past and the future as snakes shed their skins”. (Lynskey) We could apply cultural theories about tourism to a critique of the industry in the series too. Many cultural researchers have critiqued tourists and the tourism industry, as well as the powers that tourists can wield over destination cultures. In Time and Commodity Culture, John Frow has suggested that the logic of tourism is “that of a relentless extension of commodity relations, and the consequent inequalities of power, between centre and periphery, First and Third World, developed and undeveloped regions, metropolis and countryside”, as well as one that has developed from the colonial era (151). Similarly, Derek Gregory’s sensitive analyses of cultural geographies of postcolonial space showed that Nineteenth-century Orientalism is a continuing process within globalised mass tourism (114). The problem of Orientalism as a Western travel ideology is made prominent in The Serpent through Sobhraj’s denouncement of Western tourists, even though there is much irony at play here, as the series itself arguably is presenting its own retro version of Orientalism to Western audiences. Even the choice of Netflix to produce this true crime story—with its two murderers of Asian descent—is arguably a way of reinforcing negative representations about Asian identity. Then, Western characters take on the role of hero and/or central protagonist, especially the character of Knippenberg. One could ask: where is the Netflix show that depicts a positive story about a central character of Vietnamese-Indian descent? Edward Said famously defined Orientalism as “a way of coming to terms with the Orient that is based on the Orient’s special place in European Western experience” (1). It became a way for Western cultures to interpret and understand the East, and for reducing and homogenising it into a more simplistic package. Orientalism explored discourses that grew to encompass India and the Far East in tandem with the expansion of Western imperialism in the eighteenth and nineteenth centuries. It examined a dualistic ideology: a way of looking that divided the globe into two limited types without any room for nuance and diversity. Inclusive and exclusive, Orientalism assumed and promoted an “us and them” binary, privileging a Western gaze as the normative cultural position, while the East was relegated to the ambiguous role of “other”. Orientalism is a field in which stereotypes of the East and West have power: as Said suggests, “the West is the actor, the Orient is a passive reactor… . The West is the spectator, the judge and jury, of every facet of Oriental behaviour” (109). Interestingly, despite the primacy in which Sobhraj is posited as the show’s central monster, he is also the character in the series most critical of the neo-colonial oppression caused by this counter-cultural tourism, which indicates ambiguity and complexity in the representation of monstrosity. Sobhraj appears to have read Said. As he looks scornfully at a stoner hippie woman who has befriended Ajay, he seems to perceive the hippies as drop-outs and drifters, but he also connects them more thoroughly as perpetrators of neo-imperialist processes. Indicating his contempt for the sightseers of the Hippie Trail as they seek enlightenment on their travels, he interrogates his companion Ajay: why do you think these white children deny the comfort and wealth of the life they were given to come to a place like this? Worship the same gods. Wear the same rags. Live in the same filth. Each experience is only then taken home to wear like a piece of fake tribal jewellery. They travel only to acquire. It’s another form of imperialism. And she has just colonised you! Sobhraj’s speech is political but it is also menacing, and he quickly sets upon Ajay and physically punishes him for his tryst with the hippie woman. Yet, ultimately, the main Western tourists of the Hippie Trail are presented positively in The Serpent, especially as many of them are depcited as naïve innocents within the story—hopeful, idealistic and excited to travel—and simply in the wrong place, at the wrong time. In this way, the series still draws upon the conventions of the true crime genre, which is to differentiate clearly between good/evil and right/wrong, and to create an emotional connection to the victims as symbols of virtue. As the crimes and deaths accumulate within the series, Sobhraj’s opinions are deceptive, designed to manipulate those around him (such as Ajay) rather than being drawn from genuine feelings of political angst about the neo-imperialist project of Western tourism. The uncertainty around Sobhraj’s motivation for his crimes remains one of the fascinating aspects of the series. It problematises the way that the monstrosity of this character is constructed within the narrative of the show. The character of Sobhraj frequently engages with these essentialising issues about Orientalism, but he appears to do so with the aim to remove the privilege that comes from a Western gaze. In the series, Sobhraj’s motivations for targeting Western travellers are often insinuated as being due to personal reasons, such as revenge for his treatment as a child in Europe, where he says he was disparaged for being of Asian heritage. For example, as he speaks to one of his drugged French-speaking victims, Sobhraj suggests that when he moved from Vietnam to France as a child, he was subject to violence and poor treatment from others: “a half-caste boy from Saigon. You can imagine how I was bullied”. In this instance, the suffering French man placed in Sobhraj’s power has been promoted as fitting into one of these “us and them” binaries, but in this set-up, there is also a reversal of power relations and Sobhraj has set himself as both the “actor” and the “spectator”. Here, he has reversed the “Orientalist” gaze onto a passive Western man, homogenising a “Western body”, and hence radically destabilising the construct of Orientalism as an ideological force. This is also deeply troubling: it goes on to sustain a problematic and essentialising binary that, no matter which way it faces, aims to denigrate and stereotype a cultural group. In this way, the character of Sobhraj demonstrates that while he is angry at the way that Orientalist ideologies have victimised him in the past, he will continue to perpetrate its basic ideological assumptions as a way of administering justice and seeking personal retribution. Ultimately, perhaps one of the more powerful readings of The Serpent is that it is difficult to move away from the ideological constructs of travel. We could also suggest that same thing for the tourists. In her real-life analysis of the Hippie Trail, Agnieszka Sobocinska has suggested that while it was presented and understood as something profoundly different from older travel tours and expeditions, it could not help but be bound up in the same ideological colonial and imperial impulses that constituted earlier forms of travel: Orientalist images and imperial behaviours were augmented to suit a new generation that liked to think of itself as radically breaking from the past. Ironically, this facilitated the view that ‘alternative’ travel was a statement in anti-colonial politics, even as it perpetuated some of the inequalities inherent to imperialism. This plays out in The Serpent. We see that this supposedly radically different new group – with a relaxed and open-minded identity—is bound within the same old ideological constructs. Part of the problem of the Hippie Trail traveller was a failure to recognise the fundamentally imperialist origins of their understanding of travel. This is the same kind of concern mapped out by Turner and Ash in their analysis of neo-imperial forms of travel called The Golden Hordes: International Tourism and the Pleasure Periphery (1976), written and published in the same era as the events of The Serpent. Presciently gauging the effect that mass tourism would have on developing nations, Turner and Ash used the metaphor of “hordes” of tourists taking over various poorer destinations to intend a complete reversal of the stereotype of a horde of barbaric and non-Western hosts. By inferring that tourists are the “hordes” reverses Orientalist conceptions of de-personalised non-Western cultures, and shows the problem that over-tourism and unsustainable visitation can pose to host locations, especially with the acceleration of mass travel in the late Twentieth century. Certainly, the concept of a touristic “horde” is one of the monstrous ideas in travel, and can signify the worst aspects contained within mass tourism. To conclude, it is useful to return to the consideration of what is presented as monstrous in The Serpent. Here, there is the obvious monster in the sinister, impassive figure of serial killer Charles Sobhraj. Julie Clarke, in a new epilogue for The Life and Crimes of Charles Sobhraj (2020), posits that Sobhraj’s actions are monstrous and unchangeable, demonstrating the need to understand impermeable cases of human evil as a part of human society: one of the lessons of this cautionary tale should be an awareness that such ‘inhuman humans’ do live amongst us. Many don’t end up in jail, but rather reach the highest level in the corporate and political spheres. (Neville and Clarke, 2020) Then, there is the exploitational spectre of mass tourism from the Hippie Trail that has had the ability to “invade” and ruin the authenticity and/or sustainability of a particular place or location as it is overrun by the “golden hordes”. Finally, we might consider the Orientalist, imperialist and globalised ideologies of mass tourism as one of the insidious and serpentine forces that entrap the central characters in this television series. 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