Table of Contents
Word of Welcome2
Conference Essay by David Crouch 4
Keynotes 11
Expert Panel Fandom and Place
14
ERC Worlds of Imagination Project 17
Conference Program20
Panel Sessions22
Rotterdam and EUR: Getting Around
29
Restaurant Suggestions32
List of Participants 34
Word of Welcome
Welcome participants,
With these words, we would like to welcome you to our conference
Locating Imagination. Popular Culture, Tourism and Belonging.
Before you lies the result of our shared efforts to organize a high-quality
conference that deals with a diverse range of topics, centred around one
common theme: the relation between media, culture and place.
Why this conference? The relation between media, culture and place has
been receiving more and more attention in recent years. On the one hand,
we are riding that wave, collecting and displaying the results of important
research carried out in the last few years by scholars of all stripes. More in
particular, this conference marks the end of the Locating Imagination
research project, the results of which will be presented on Wednesday. On
the other hand, we hope that this conference will add something to our
current knowledge of this important theme. We aim to do so in the
following two ways.
Firstly, this conference brings together scholars from a wide variety of
disciplines, amongst others media studies, fan studies, tourism studies,
cultural geography, literary studies and music sociology. The conference
program reflects this multidisciplinary approach. As you will read,
presentations have not been grouped together based on medium or
discipline, but based on central concepts and research themes. We believe
that this approach has the potential to truly bring together different
disciplinary perspectives and thus foster cross-disciplinary debate.
2
Secondly, this conference aims to boost and advocate for the combining
of high theory with qualitative-empirical research. It is precisely such
a combined approach, where theory is developed but also brought into
contact with concrete cultural practices, that is best fit to tackle the most
pressing questions regarding the relation between media, culture and place.
It is beyond the scope of this introduction to provide a thorough and full
overview of all these questions, but a first glimpse can be found in the contribution of professor David Crouch. His essay on page 4 is an intellectual
kick-off for this conference and serves as a starting point for the
publication we plan to prepare, resulting from this conference; we will
circulate a separate call for papers after the conference has finished.
What is on offer? This conference boosts 68 presentations, selected after a
competitive, blind-review process with an acceptance rate of slightly over
50%. In addition, we have three excellent and highly renowned keynote
speakers – David Morley, Marie-Laure Ryan and André Jansson. We would
also like to highlight the special session on fandom and place, with three
invited experts from the domain of fan studies: Cornel Sandvoss, Mark
Duffett and Matt Hills. Finally yet importantly, we would like to welcome
the international advisors of the recently launched research project Worlds
of Imagination.
This conference would not have been possible without the generous
funding of the Dutch Science Foundation (NWO). The NWO has
supported both the research project Locating Imagination as well as the
costs for organizing this conference. In addition, we would like to thank
the European Research Council (ERC), the Erasmus Research Centre for
Media, Communication and Culture (ERMeCC) and the NetherlandsFlanders Communication Association (NeFCA) for their additional
funding.
Kind regards,
The Locating Imagination Team:
Stijn Reijnders, Leonieke Bolderman, Abby Waysdorf, Nicky van Es
3
Conference Essay
Unsettling ‘externally’ - ‘induced’ journeys
David Crouch, Emeritus Professor Cultural Geography, University of Derby
It is commonly presumed that where people go, and what they do there, is
in response to particular mediated forms of knowing. Their imagination is
stirred by it; their journey is shaped in its content; their potential for kinds
of creativity is informed. The character of what happened through their
journey is opened to the possibilities of the media. There is a prevalent idea
that, in our time, perhaps the most powerful of such ‘inducements’ rests in,
or is owned by film, expressed in the term film-induced tourism. The word
‘induced’ applied to an act and affectivity of any media is bemusing,
rendering a character of giving birth (see Beeton 2005). At its core, the
word implies to bring about, to persuade, convince; even to cause. In this
presentation I seek to examine what happens surrounding the doing or
practice of tourism, being tourist, and so on. I am particularly concerned
with entering and evaluating the nuance and complexity, indeed of feeling,
as well as knowing, that the individual [part-time tourist, of course]
engages and emerges. Enhancing such insight promises a fuller understanding of what is at play.
Thinking like this shares character with, for example, Urry’s idea of the
tourist gaze (2011); the infectious enthusiasm for one dimensional reading
of what people do- and buy – ‘consumption’; in the extreme, perhaps, the
notion of beaches, mountains, even mosques, churches, temples being by
tourism institutions as tourism products, a rather far-fetched notion by any
standards. One more notion in a linked panoply amongst tourism studies
rather that may deserve fuller understanding is the romancing of
mobilities, as though the whole world was in a big trip (Urry 2007,
Cresswell 2006). So often each of these ‘understandings’ play to the notion
that much is led by business, working alone. People are enumerated in huge
surveys that identify ‘truth’ by statistical presumption.
However, in almost a decade, this sphere of work has come to engage what
people think, do, desire and feel (see for example The Cultural Moment in
4
Tourism, edited by Smith and Waterton, 2012). Insights from
anthropology and cultural geography in particular have been major
informing, and perhaps ‘humanising’ influences on our understanding
(Andrews 2011, Bruner 2005, Crouch 1999, 2010, 2012, Ness 2016,
Skinner 2010, Winter 2007). The tourist gaze, for example, is partial in
understanding looking and seeing. There is of course much more at play;
haptic vision matters, as do all the senses acting in the wider swirl of living.
The anthropologist Ed Bruner recounts the way individuals tend to talk
about ‘home’ when they are, supposedly, ‘away’. Another anthropologist,
Hazel Andrews identifies the doings of particular groups of English visitors
on charter trips to Magaluf with an assertion, a realisation of Englishness,
in for example all-day English breakfasts and alas sexist and racist events,
that they feel lost back home, thereby feeling they can ‘hold on’ to their
identity – whilst ‘away’ from ‘home’ (Andrews 2011 op cit). Ness
identifies how walking and climbing visitors to Yosemite National Park feel
what matters there through the bodily ‘performance’, knowing the feel of
the rocks and tracks, in a multiple range of performativities combined in
a doing informed by previously spending time in similar sites or previous
visits to this same location (Ness 2016). In this they too discover becoming, a ‘going further’. For Tim Winter, the experience of Angkor Watt is
mixed with being together with friends, family; the feeling of other people
around, memory from elsewhere, joining in the trip (Crouch 2010).
Creativity is performative, it works with imagination; they each make their
own. Located, memory, mediated contextual influences and affectivities,
memories of heres and theres commingle.
In this discussion I focus upon the multiplicity of things, events, memories, actions and performativities in which individuals are engaged, and
amongst others, share; through which their imagination may be stimulated
or ablated; stirred or flattened. Closely akin to the notion of imagination
sits the idea of creativity, and it is through this couplet, imagination and
creativity, that the discussion progresses, with close attention to that swirl
in and through which things, events and their absence may occur, happen.
Moreover, in locating it is not only in the cultural sphere that things are
located, in terms of wider, often vaguer ‘contexts’. Indeed, such contexts
as ‘media’ flicker and affect, but do not determine. Affectivities emerge in
5
everyday living and its fluid, uncertain and changing memory. This
everyday character of living, with its various time trajectories, is contexts
too. Furthermore, space matters; experienced in diverse spacetimes. One
way of thinking space is as flirting, in touch with the materiality, human
and other-than human that make up space, along with our own, individual
and variously collective expressive poetic projection on to things, just as
the materiality and others living and dead produce affectivities upon us.
There is self-evidently an enormous diversity in the kinds of journeys that
individuals, families and others seek or find welcome. Of course, the most
popular continues to be visiting friends and relatives. I consider the many
realms and arenas in which individuals live in order better to try and locate
mediated pulls or pushes and their affectivities, that are surely themselves
enormously diverse and rather haphazard.
The anthropologist Tim Ingold wrote of creativity as ‘a process that living
beings undergo as they make their way through this world… the process
is going on, all the time, in the circulation and fluxes of the material that
surrounds us…. ‘(Hallam and Ingold 2007:2). Individuals in their everyday
lives participate in a wide variety of creativity; participating, not merely
affected by. As Stewart remarks: ‘Things flash up – little worlds, bad
impulses, events alive with some kind of charge’ (2007: 68). Stewart
considers, in the liveliness of description, the affective character of living,
not its emotions with that particularly psychological pull, often subdividing
each one, but in feeling, inchoately gathered: for this discussion, how space
feels and may matter as it participates in making or breaking relations and
opening or obfuscating potentialities.
Our doings, relations, identities and negotiations also constitute and give
character to the web or dynamic that is culture. Another commingling,
another resistance or avoidance; another creativity occurs. Thus, the liveliness of space is dynamic: iterative, variously felt, existing. Numerous
multiple outward contexts flicker and nudge; not as primary or privileged;
our living, our ever-fluid memory, imagination and dreaming desires; we
listen to friends and exchange our memories of stories, even from childhood, spaces we knew and might like to know, and so on. This moment –
these are all contexts that roll moment to moment and gather and break. In
6
these processes and practices we become; we become creative, we imagine.
Philosopher Erin Manning takes this approach further: ‘(A) feels the
world. Watch her reading a book: she touches it, puts her face into it, listens
to the pages rustling, smells it, looks at it. Becoming-bodies feel-with the
world. Feeling-with is not without thought. It is a force for thought. Don’t
mistake feeling with emotion. Emotion is the rendering of an affect, feeling
is its force’ (2009: 219). Movement is foregrounded not as displacement,
but as felt intensity; in diverse multiple atmospheres, not scales or
layering in the sense of consecutively settled strata, but sliced, dripping and
chopped into each other, commingling perhaps. What we call ‘the media’
finds itself somewhere amongst these energies, events, movements in our
lives.
Through an attention to the fluid and multiple character of living, its
feelings and memory, we can arrive at the notion of play, seriously applied.
Or the idea, in relation to where we are, may become or were, that we flirt
with our surroundings, flirt amongst the other-materiality of space and
spaces we have encountered at some time or other, and may imagine we
may do so in the present and future. Flirting; a mixture of emotions,
affectivities and feelings in living.
Writing of her deep investigative conversations, rather than interviews,
Stewart accounts: ‘Writing through several small cases selected out of
countless potentially describable moments and scenes in which the sense
of something happening becomes tactile, I try to open a proliferative list
of questions about how forces come to reside in experiences, conditions,
things, dreams, landscapes, imaginaries, and lived sensory moments. How
do people dwelling in them become attuned to the sense of something
coming into existence or something waning, sagging, dissipating,
enduring, or resonating with what is lost or promising? I suggest that
atmospheric attunements are palpable and sensory yet imaginary and
uncontained, material yet abstract. They have rhythms, valences, moods,
sensations, tempos, and varied and changing lifespans. They can pull the
senses into alert or incite distraction or denial.’ (2011:445). As the media
may be, so too can the wider, richer worlds of lives, and our spacing in the
world.
7
Tangles of the mundane swirl into and from these, too. Like those
corporate and institutional worlds, their forces and affects, and direct
effects, they are enormously varied across lives – and sites and atmospheres
of living. Similarly, a domination of their being given priority in our
attentions must equally be in the hearing and response ranges of our
enquiries. As Jane Bennett explained, there are others than us who participate in this worlding, and no less in the occurrence of space, in their
affects:
‘To acknowledge non-human materialities as participants in a political
ecology is not to claim that everything is always a participant, or that all
participants are alike. Persons, worms, leaves, bacteria, metals and
hurricanes have different types and degrees of power, just as different
persons have different types and degrees of power. … but surely the scope
of democratisation can be broadened to acknowledge more non-humans in
more ways, in something like the ways in which we have come to hear the
political voices of other humans’ (2010, 109).
As we become more aware of and alert to the other-than human, it is
important to hold on to what Bennett (also) implies regarding the
unevenness of human affects, but also influence and power. Moreover, as
Crossley argued intently, intersubjectivity matters and is not to be
overlooked. Collectives and everyday co-operative practice inhabits
becoming, as Crossley’s (1996) title, ‘becoming’ implies, akin and
frequently germane to the collective character of becoming amongst even
‘mundane’ (sic) creativity (Cohen 2007), and Inger Birkeland underscores
the continuing importance of intersubjectivity that does not overlook
human participation in her writing on the making of self and place
(Birkeland 2005). Yet of course each component can be disrupted and its
bits erupt into the present. Memory, again, rarely remains continuous or
consistent.
I have sought to develop something of an understanding of the vibrancy
of the occurrence of space through collision of multiplicities of affects
towards worlding, the ways in which feelings, ideas, reflections and desires
emerge. Lives and feelings feature prominently in this narrative because I
think they do, in the unpicking of spacing evoked in the words, mood,
8
feelings, values and attitudes of the individuals who appear here, appear
in life witnessed in participatory observation. It is easy to impose our
thoughts upon what others say and do, move and reflect, and my guilt may
be shared here. Yet it is in the intimate attention to what and how
something is said and done, whispered and avoided, the ways in which a
movement of hands can express and evoke, it becomes possible to offer
stories of space in lives, affect and worlding that seems to do some justice
to these testimonies. Stories that help us unpick presumptions, connections
and power. Thus it becomes more possible to conceptualise what often
appears opaque (affect, atmosphere) that once seemed obvious.
Perhaps, then, it is too often the case that business attention to blockbuster
movies with an eye on their own profit welcome and celebrate ‘the media’
in ascending their profits. Undoubtedly there are very occasionally
particular films that play a significant role in enhancing the perceived
character of a happening, occurrence or location and flavour what may be
enjoyed there. More than likely, they may offer a marginal component to
the complexity, the swirl of things, moments, affects that may be at best
ephemeral. Yet their impact, their affectivity, accompanies and is
accompanied by so much more than this. A film, a newspaper report, a
book, a childhood story, a remembered song, something a friend
mentioned or what we did last vacation, here or somewhere else: all of
these commingle unevenly and perhaps in competition. They join the
wider swirl of affectivities. Our investigations can learn a great deal from
the ethnographic character increasingly pursued…
David Crouch’s writing includes Flirting with Space: journeys and creativity (Ashgate 2010/Routledge 2016); Editor, The Media and the Tourist Imagination (Routledge 2005); Flirting with space: thinking landscape relationally (cultural geographies 2010); Editor, leisure/tourism geographies: practices and geographical knowledge (Routledge 1999). His forthcoming, co-edited text (with Marijn Nieuwenhuis), The Question of Space, will be published by Rowman and Littlefield.
9
Bibliography
Andrews, H (2011). The British on Holiday Charter Tourism, Identity and Consumption. Bristol: Channel View Press.
Beeton, S. (2005). Film-Induced Tourism. Bristol: Channel View Press.
Bennett, J. (2010). Vibrant Matter. Princeton University Press.
Birkeland, I. (2005). Making Place, Making Self: travel, subjectivity. Farnham: Ashgate
Cohen, S. (2007). Decline, Renewal and the City in Popular Music Culture: Beyond the Beatles. Farnham: Ashgate.
Cresswell, T. (2006). On the Move. London: Routledge.
Crossley, N. (1996). Intersubjectivities. London: Sage.
Crouch, D. (1999). Leisure/tourism geographies: practices and knowledge. London:
Routledge.
Crouch, D., and Thompson, A. (eds.) (2005). The Media and the Tourist Imagination.
Converging Cultures. London: Routledge.
Crouch, D. (2010). Flirting with Space: journeys and creativity. London: Ashgate/
Routledge.
Crouch, D. (2012). “Meaning, encounter, performativity: threads and moments of space
times in doing tourism,” in Smith L., Waterton, E., and Watson, S. (eds.), The Cultural Moment in Tourism. London: Routledge.
Hallam, E., and Ingold, T. (2007). "Creativity and Cultural Improvisation: An
Introduction." In E. Hallam and T. Ingold (eds.), Creativity and Cultural
Improvisation, pp. 1-24. Oxford: Berg.
Manning, E. (2009). Relationscapes: Movement, Art, Philosophy. Cambridge: The MIT Press.
Ness, S. (2016). Choreographies of landscape: signs of performance in Yosemite. Oxford: Berghahn
Stewart, K. (2007). Ordinary Affects. Durham: Duke University Press.
Stewart, K. (2011). "Atmospheric Attunements." Environment and Planning D: Society and Space 29 (3):445-453.
Smith, L. Waterton, E., and Watson, S. (2012). The Cultural Moment in Tourism. London: Routledge
Urry J. (1990, 2011). The Tourist Gaze. London: Sage.
Urry J. (2007). Mobilities. London: Sage.
Winter, M. (2007). “Landscapes in the Living Memory”, in Moore, N. et al (eds.), Heritage, memory and then politics of identity. Farnham: Ashgate.
10
Locating Imagination Keynotes
Wednesday 5 April 10:15 - 11:15
Opening keynote: David Morley
No Place Like Birmingham?
My presentation will address the changing relations of virtual and
material geographies (and demographies) in matters of place, space and
their representation. This will also entail the need to articulate questions
of communication with matters of transportation (treating the mobility of
messages alongside that of persons and commodities). The English city of
Birmingham – long-derided as the ultimate Non-Place, but now the site of
a boom in tourism – will provide us with a place-study in which some of
these themes can be explored.
Professor David Morley is Professor of Communications at
Goldsmiths University and is the author of many influential works of media theory, including The Nationwide Audience (1980) and Media, Modernity, and Technology: the Geography of the New (2007).
Thursday 6 April 09:30 – 10:30
Keynote: Marie-Laure Ryan
How Stories relate to Places? Musings on Narrative Tourism
The phenomenon of literary tourism depends on a text’s ability to create
a sense of place. In this presentation I will explore the many ways stories
connect to space, or, more precisely, turn points in space into places, as a
prelude to an investigation of the various forms of literary tourism and of
the theoretical assumptions that underlie them. It will be argued that the
phenomenon of literary tourism flies in the face of the conceptions of
literary meaning that have dominated literary theory in the second half of
the 20th century. Whereas ‘textualist’ literary theory regards literary worlds
as autonomous constructs that follow their own rules, and looks down on
any attempt to connect literary works to the real world, I will argue in favor
11
of a conception of literary fiction based on the notion of
possible world that explains both the divergence and similarities between
the places mentioned in literature and their real-world counterparts. The
experience of literary tourists will be shown to rely on a paradox: on one
hand, it is driven by their desire to see the real-world counterparts of
fictional places with their own eyes, i.e. ‘as they really are’ (hence the need
to travel to these places rather than being satisfied with simply imagining
them); on the other hand, this experience is heavily mediated by the text,
so that what is being seen is less a place in itself than a place as seen by the
author, this is to say, as a source of literary inspiration. The presentation
will conclude with the discussion of a novel that makes an original
contribution to narrative tourism: Orhan Pamuk’s Museum of Innocence.
As a fictional text, the novel describes an imaginary museum that commemorates a love story. In addition to the fictional Museum of Innocence,
whose birth is depicted in the novel, there is also a real Museum of
Innocence located in Istanbul, a museum whose display follows the plot of
the novel, and that was created by Orhan Pamuk himself. Finally there is a
catalog, also written by Pamuk, that explains the connections between the
displays in the real museum and the novel. The discussion will focus on the
interplay of fictional and factual elements in the novel and the catalog, on
the importance of objects, on the contribution of both the novel and the
actual museum to the capture of the genius loci of Pamuk’s Istanbul, and on
what kind of visitors the museum can be expected to receive.
Dr. Marie-Laure Ryan is author of Narrative as Virtual Reality: Immersion and Interactivity in Literature and Electronic Media (2000) and Narrating Space/Spatializing Narrative: Where
Narrative Theory and Geography Meet (2016, with Kenneth Foote
and Maoz Azaryahu).
Friday 7 April 09:30 – 10:30
Closing keynote: André Jansson
‘This is not ruin tourism’ - Exploring the Spreadable City
Industrial ruins, abandoned places and landscapes of urban decay have to
an increasing extent come to surface in popular representations of towns
and cities. Today it is not only filmmakers and photographers that explore
12
and utilize the ghostly ambience of these leftover spaces. Their
appearances are widely circulated also through various social media platforms and online networks; enacted by such groups as urban explorers,
ruin tourists and heritage tourists. Together, these ‘cultures of circulation’
weave an increasingly complex imaginary texture of the recent past, where
dominant and alternative representations of the city may collide, intersect
and/or coalesce, and where different registers of imagination and emotion
are being evoked. Whether we look at decaying mining villages, urban
back lots or the abandoned metropolis of Detroit the mediated imageries
of these places oscillate between fear and hope; between nostalgic regret
and entrepreneurial desire; between ‘ruin porn’ and documentary realism.
In this talk (which is partly based on a case study conducted in 2015/16), I
explore the cultural tensions between the rough, but no less phantasmagorical, materiality of decaying urban areas and the increasingly ephemeral
cultures of online circulation. Taking the example of urban exploration, an
alternative cultural movement that has evolved since the mid-1990s, I
discuss how the expanding logic of ‘spreadability’ brings previously
hidden places into a new aestheticizing light, in some cases contributing to
the sacralisation of new (unexpected) tourist sites and ultimately
influencing the symbolic construction of entire towns and cities. I also
show that this is not a straightforward development. While some urban
explorers act as strategic cultural entrepreneurs, others (the majority it
seems) operate in greater secrecy and are keen to preserve the
imaginative authenticity of ruins and abandoned places. They think of
themselves as less ‘mainstream’ than ‘ruin tourists’ and actively resist the
logic of spreadability. What unfolds is thus a cultural field marked by
internal tensions and porous boundaries towards adjacent cultures of
circulation. Exploring such a field, I argue, is a good way of grasping the
different ways in which people imagine and relate to the half-forgotten
remnants of the modern past, as well as a starting point for mapping the
contested landscapes of the spreadable city.
André Jansson is Professor of Media and Communication Studies
at Karlstad University, and is the editor of Geographies of Communication: The Spatial Turn in Media Studies (2006, with Jesper
Falkheimer) and author of Cosmopolitanism and the Media: Cartographies of Change (2015, with Miyase Christensen).
13
Expert Panel Fandom and Place
Thursday 6 April 13:15 – 14:45
Mobility and Heimat: The Politics of Place in Fandom from Popular Culture to Populism
Cornel Sandvoss
This paper seeks to examine the fundamental tensions between conflicting forces in in the affective modes of media use and engagement that
have been increasingly described and understood as fandom over the past
three decades. On the one hand, the affective qualities of fandom derive
from fans exercising far reaching semiotic control over the fan object. As
a fantasy of self, the pleasures of the fan object lie in its capacity to offer a
space of belonging, a textual home, based on reading strategies of inclusion
and exclusion and inevitably constructed against a symbolic Other. On the
other hand, this self-reflective investment requires a process of externalisation, and embeddedness in the object world which facilitates not only
imagination but a symbolic connection that invites fans onto journeys of
exploration and pilgrimages that broaden horizons of experiences. The
paper will analyse the manifestations of both tendencies in contemporary
media engagements by drawing on the findings of empirical research on
the interplay of media use, identity and self across the spectrum of popular
culture and beyond, including the emergence of forms of political fandom
and populism.
Cornel Sandvoss is Professor in Media and Journalism at the University of Huddersfield. He has authored three monographs,
including Fans: The Mirror of Consumption (2005), and has
published widely in the fields of fandom, media reception and use, and participation.He is past Chair and Vice-Chair of the Popular Communication Division of the International Communication As
sociation and is currently the co-director, with Matt Hills, of the Centre for Participatory Culture.
14
Gate People: Fan History Before Elvis Heritage At Graceland
Mark Duffett
The paradigms that explain media fandom both enable and constrain
academic discussions about fan tourism. Robert Fry's (2014) recent piece
on the King Buiscuit Blues Festival in Arkansas, for instance, can be understood as a discussion of heritage tourism in the implicit context of
participatory culture (Jenkins 2010). Thinking about history provides an
inclusive means to investigate what happened in places before fan
visits became fully facilitated by the heritage industry. Five years after Elvis
Presley's death, his Memphis home was opened as a tourist attraction. This
papers constructs a 'hidden history' of prior fan visits, vigils and
pilgrimages to Graceland. It considers the 'gate people' as a living culture,
one that contributed to the mansion's status as a celebrated tourist
destination.
Dr Mark Duffett is Reader in Media and Cultural Studies at the University of Chester. Following his PhD on Elvis fandom in 1999, he has written widely on related topics. Understanding Fandom
(Bloomsbury, 2013) is his critical survey of fan studies. Mark is now working on the book Counting Down Elvis.
Locating Imagination, Placing Experience: Brand Fandom and the Immersive Value of ‘Being There’
Matt Hills
Based on recently published and forthcoming work, I will consider two
case studies: the Doctor Who Experience (DWE) tourist attraction
currently based in Cardiff, and the Star Wars Celebration (SWC) event that
was held in London in 2016. Unlike multi-fannish spaces (Brownie and
Graydon 2016; Stein 2015), each gives us a way into ‘places of
imagination’ (Reijnders 2011) that are officially mono-branded
invitations to fandom. This degree of brand management means that fans
can be promised authentic ‘immersion’ into these imaginary worlds, akin
to theme park activities (Waysdorf and Reijnders 2016). However, how
does this discursive practice of immersion play out in relation to
‘walkthrough attractions’ such as the DWE (Beattie 2013; Forde 2013;
Booth 2015; Garner 2016) and convention-style events like SWC? I will
argue that experiences of immersion, performed by industry and fans alike
15
as the goal and value of such events, are necessarily imperfect,
contested, and conflicted. Although ‘being there’ can confer fan cultural
capital (Geraghty 2014), designed immersion remains caught up in a cycle
of sacred/profane boundary-shifting, where fans always desire greater
proximity to the text/imaginary world than they can be commercially or
even existentially offered (Hills 2017a). We also need to address different
kinds of authenticating immersion, e.g. Star Wars Celebration strives to
immerse its brand fandom in transmedia licenses, presenting a mode of
‘paratextual completism’ (Hills 2015) rather than immersion in an
imaginary world (Hills 2017b).
Matt Hills is Professor of Media and Journalism at the University of Huddersfield. Alongside Cornel Sandvoss, he is the
co-director of the Centre for Participatory Culture. He has
authored six research monographs, including Fan Cultures (2002) and Doctor Who: The Unfolding Event (2015), and has published widely on media fandom, cult film and television, and audiences in the digital era.
16
17
Worlds of Imagination
This conference also serves as the launch for the ERC project ‘Worlds of
Imagination,’ which will be featured in a special session on Wednesday 5
April.
The research project ‘Worlds of Imagination,’ financed by a large-scale
Consolidator Grant from the European Research Council, focuses on film
tourism: the phenomenon of people visiting locations from popular films
or TV series. Recent years have seen a dramatic, worldwide increase of
this type of tourism, with far-reaching implications for the experience and
organization of landscapes. Famous examples would be Lord of the Rings
tours in New Zealand, Harry Potter locations in the UK and Game of
Thrones tours in Northern Ireland. While the number of empirical studies
on film tourism is growing, most have been limited to isolated, Western
examples. This Western focus tends to overlook the fact that the face of the
media industry as well as the tourism industry has been changing rapidly
on a global scale.
In order to take the next step and move this field of research to a higher
level, a more comparative and cross-case approach is essential. This project
aims to do so, by exploring more generic processes and relationships of
power involved in the development and experience of film tourism worldwide. The principal question underlying this project is: why, under what
conditions and in which ways do films and TV series give rise to new and
diverse tourism flows across the globe?
This question is addressed by analysing and comparing film tourism in
five geographically and culturally different contexts: South Korea, Brazil,
Jamaica, India and the UK. These five cases will be subjected to the same
lines of inquiry, focusing on 1) the visual traditions in the local media cultures; 2) the drivers and impacts of local policies aimed at developing film
tourism; 3) the commonalities and differences in motives and experiences
of film tourists with diverse backgrounds. The project will be conducted by
the PhD researchers Apoorva Nanjangud, Débora Póvoa, Henry Chow and
Rosa Schiavone, and the postdoc researcher Dr. Emiel Martens, under the
supervision of professor Stijn Rejinders. We would also like to welcome the
18
project’s external advisors Dr. Ranjan Bandyopadhyay, Dr. Bianca FreireMedeiros, Dr. Sean Kim, Dr. Matt Hills, and Dr. Esther Figueroa, and look
forward to their insights.
Please join us at 15:45 on Wednesday afternoon 5 April in room Tokyo
M1-17, for the official launch of ‘Worlds of Imagination’.
Jamaica for Sale
Friday 7 April 10:45 - 12:45
As advisor of the Worlds of Imagination project, Dr.Esther Figueroa has
kindly agreed to a screening of her documentary, Jamaica for Sale. She will
personally introduce the documentary on Friday, and after the screening
she will engage in a discussion of her work.
Synopsis
Jamaica for Sale, by Esther Figueroa and Diana McCaulay, counters the
dominant view that tourism is the savior of the Jamaican people. Lively and
hard hitting, with powerful voices, arresting visuals and iconic music,
Jamaica or Sale documents the environmental, economic, social and
cultural impacts of unsustainable tourism development. As Jamaica is
irreversibly transformed by massive hotel and luxury condominium
development, Jamaica for Sale both documents this transformation and
tries to turn the tide.
Facts
92 minutes, 2008-2009, Jamaica, Copyright Vagabond Media & Jamaica
Environment Trust
19
Conference Program
Thursday 6 April
09:00 – 09:30 Registration
09:30 – 10:30
10:30 – 10:45
Hall - M1
Keynote: Marie-Laure Ryan - How Stories relate to Places? Musings on Narrative
Tourism
Coffee
Tokyo – M1-17
Hall – M1
Panel session IV:
panel 10:
12:15 – 13:15
panel 11:
Play
10:45 – 12:15
Tokyo – M1-17
Lunch
panel 12:
Remediated War
Diegetic Worlds
Heidelberg – M1-16
Praag - M3-05
Hall – M1
Expert Panel Fandom and Place
with Cornel Sandvoss, Mark Duffett and Matt Hills
13:15 – 14:45
14:45 – 15:00
Tokyo – M1-17
Coffee
Hall – M1
Panel session V:
Wednesday 5 April
15:00 – 16:30
09:00 – 10:00
Registration
10:00 – 10:15
Opening conference
10:15 – 11:15
Opening keynote: David Morley – No Place Like Birmingham?
11:15 – 11:30
Coffee
Hall - M1
Praag - M3-05
Tokyo – M1-17
Tokyo – M1-17
19:45 – 23:00
panel 1:
panel 2:
11:30 – 13:00
TV and National Identity
13:00 – 14:00
ERC Worlds of Imagination Lunch
Praag - M3-05
panel 3:
Remediations of the City
Locating Imagination in Perspective
Tokyo – M1-17
Heidelberg – M1-16
panel 4:
Dissonant Heritage
Tokyo – M1-17
Coffee
09:30 – 10:30
10:30 – 10:45
Hall – M1
panel 5:
Touristic Imaginings
Tokyo – M1-17
Boompjeskade 13/14
Praag - M3-05
10:45 – 12:15
Musical Aura of Place
17:30 – 18:30
ERMeCC drinks
18:30 – 20:30
Conference dinner
panel 8:
UK Media Tourism and
History
Praag - M3-05
panel 9:
12:15 – 13:30
Coffee
Tokyo – M1-17
Hall – M1
Personal Media
Making
NeFCA lunch
Tokyo – M1-17
Screening documentary
panel 17:
Public Policies and
Nation Branding
‘Jamaica for Sale’, with
director Esther Figueroa
Rochester M2-10
10:45 – 12:45
Praag - M3-05
Hall – M1
Panel session VII:
ERC Worlds of Imagination
13:30 – 15:00
Erasmus Pavilion
Erasmus Pavilion
Spreadable City
Tokyo – M1-17
Hall – M1
panel 7:
Closing keynote: André Jansson – ‘This is not ruin tourism’ - Exploring the
panel 16:
panel 6:
Audience/Fan and Industry Relations
Heidelberg – M1-16
Heidelberg – M1-16
20
Conference Party – Cruise on the River Maas
Panel session VI:
Panel session III:
15:45 – 17:15
Heidelberg – M1-16
panel 15:
Crossing Borders
Friday 7 April
Panel session II:
15:30 – 15:45
panel 14:
City Branding in/through/and Media Tourism
Hall – M1
Panel session I:
14:00 – 15:30
panel 13:
Ritual Journeys
panel 18:
Music and Place Myths
Praag - M3-05
15:00 – 15:15
Closing Remarks by Stijn Reijnders
panel 19:
Watching the Others
Tokyo – M1-17
Tokyo – M1-17
21
Panel Sessions
Wednesday 5 April
Wednesday 5 April 10:15 - 11:15
Tokyo M1-17, Opening keynote:
David Morley – No place like Birmingham?
Wednesday 5 April 11:30 – 13:00
PANEL 1 – TV and National Identity
Praag M3-05, Chair: Sean Kim
1)
2)
3)
Emine Merve Mustecaplioglu – How does Ottomania
effect the perceptions of Turkish national image and intention to
visit Turkey? An empirical study of a Turkish-Ottoman TV Drama-Magnificent Century
Elisabeth Scherer & Timo Thelen – On Countryside Roads to
National Identity – Japanese Morning Drama Series and
Contents Tourism
Neil O’Boyle & Colm Kearns – Happy Little people on Tour: Football fandom and tropes about Ireland
PANEL 2 – Remediations of the City
Heidelberg M1-16, Chair: Erik Hitters
1)
2)
3)
4)
Delia Dumitrica – The Commodification of Banal Nationalism: Daily Visual Representations of Nationhood
Maranke Wieringa – The voyeur at leisure: flanery in a
miniature city. The urban phenomena of leisure time, tourism,
flanery and urban memory that take place in Madurodam
Nicolle Lamerichs – Hunters, Climbers and Flaneurs:
Video Game Tourism as Recreation and Reconnection
Boris Stepanov – Transformations of romantic imagination in contemporary Moscow
PANEL 3 – Locating Imagination in Perspective
Tokyo M1-17, Chair: Stijn Reijnders
22
1)
2)
Nicky van Es – Armchair Travel in a Multimedia Age: Locating the Literary Imagination and the Place(s) of Literature
Abby Waysdorf – The (Meaningful) Experience of Film Tourism
3)
Leonieke Bolderman – Musical Topophilia: Experiencing
Music, Place and Travel
Wednesday 5 April 14:00 – 15:30
PANEL 4 – Dissonant Heritage
Tokyo M1-17, Chair: Maria Grever
1)
2)
3)
4)
Ruth Massingill & Mel Strait – Prison Tourism: How Television and Movie Portrayals of Criminal Culture Fuel
the Public Appetite for Dark Tourism
Jason Grek-Martin: To Complement, Complicate or
Compromise? Assessing the Impact of the Roots Story on Heritage Tourism in The Gambia, West Africa
Siri Driessen – Imagining the landscape of war. Military fieldtrips to historical war sites
Kelly Palmer – Sun, Surf, Sex, and the Everyday:
Subverting the Tourist Gaze with Gold Coast Narrative Fiction
PANEL 5 – Touristic Imaginings
Heidelberg M1-16, Chair: Arno van der Hoeven
1)
2)
3)
Simona De Iulio & Marialuisa Stazio - Feeling Like In A Movie: Media Culture And Culinary Tourism In Italian Restaurants
Stefana Carina Mihaicuta – Locating the imagination of Greekness versus Cretaness in music evenings for tourists in Crete
Ruxandra Ana – Transactional bodies: dance, tourism and idea(l)s of Cubanness
PANEL 6 – Audience/Fan and Industry Relations
Praag M3-05, Chair: Susanne Janssen
1)
2)
3)
Karin Fast, Linda Ryan Bengtsson & Raul Ferrer Conill – A spatial approach to fan labor: conceptualizing fan
mobilization in transmedia marketing
Min Xu – On the attraction of being close to film industry professionals at Shanghai International Film Festival
Sandra Wagemakers – Familiar faces and places: Partici
pating in Television Fiction close to your home
23
Wednesday 5 April 15:45 – 17:15
PANEL 7 – Musical Aura of Place
Heidelberg M1-16, Chair: Mark Duffett
1)
2)
3)
Nicolette Rohr – ‘John Lennon slept here’: Fandom Rock and Roll Tourism
Carla Schriever – Paisley Park is in ur heart - Phantasmatic places in popular music fandom
Arthur Lizie – Admission is easy, just say you believe: Prince, Place and Paisley Park
PANEL 8 – UK Media and Tourism History
Praag M3-05, Chair: Maria Grever
1)
2)
3)
4)
Kathleen Morrissey – Travel Narratives in 18th Century England
James Cateridge – What if your future was the past? Genealogy, Romance and Television Tourism in Outlander
Lavinia Brydon – The Garden of England: Sites of
Production and Pilgrimage
Llewella Chapman – ‘Were our ideas of maintaining control mythical?’: Filmmaking Policies at Hampton Court Palace, 1928-2016
PANEL 9 – ERC project: Worlds of Imagination
Tokyo M1-17, Chair: Stijn Reijnders
1)
2)
3)
4)
5)
24
Emiel Martens - ‘You’ve Got the Production, We’ve Got the Location’: Towards a Jamaican Film Tourism Industry?
Debora Póvoa - Tropical ghetto, dangerous paradise? Ex
periencing Brazil in film (and) tourism
Apoorva Nanjangud - Filmy Chakkar: Perspectives on Contemporary Film Tourism in India
Rosa Schiavone - Film-Tourism in the UK: Contestations over (Tourist) Space
Henry Chow – ‘Here Comes Love’: K-drama Tourism as a Feminised Commodity
Thursday 6 April
Thursday 6 April 09:30 – 10:30
Tokyo M1-17, Keynote:
Marie-Laure Ryan - How Stories relate to Places? Musings on Narrative
Tourism
Thursday 6 April 10:45 – 12:15
PANEL 10 – Play
Tokyo M1-17, Chair: Jeroen Jansz
1)
2)
3)
Bobby Schweizer – Possessive Spectatorship and the
Videogame Tourist
Katriina Heljakka & Pirita Ihamäki – Toy mobility in the ludic age: From travel bugs to toy tourism agencies
Julie Escurignan – Expanding Game of Thrones’ Universe through Immersive Experience: The case of Game of Thrones’ cosplayers at London Comic Con and HeroFesti
val Marseille
PANEL 11 – Remediated War
Heidelberg M1-16, Chair: David Morley
1)
2)
3)
Laurie Slegtenhorst – Exploring the Transnational
Memory of the Second World War
Anne-Marie Scholz – Austrian National Identity and Historical Media Tourism: Comparing The Third Man tour with The Sound of Music Tour
Ana Aceska – Locating ‘common values’ into place:
popular culture and heritage in post-war BosniaHerzegovina
PANEL 12 – Diegetic Worlds
Praag M3-05, Chair: Abby Waysdorf
1)
2)
3)
Joshua Parker – Legend Tripping
Alex Jeffrey – Plastic Beach
Christopher Wigginton - The Location(s) of Poetry: Dylan
Thomas in America, Wales and the Popular Imagination.
25
Thursday 6 April 13:15 – 14:45
Expert Panel Fandom and Place
Tokyo M1-17, Chair: Stijn Reijnders
13:15 – 13:35
13:40 – 14:00
14:05 – 14:25
14:30 – 14:45
Cornel Sandvoss - Mobility and Heimat: The Politics of Place in Fandom from Popular Culture to Populism
Mark Duffett – Gate People: Fan History Before Elvis Heritage At Graceland
Matt Hills – Locating Imagination, Placing Experience: Brand Fandom and the Immersive Value of ‘Being There’
Round Table Discussion
Thursday 6 April 15:00 – 16:30
PANEL 13 – Ritual Journeys
Praag M3-05, Chair: Cornel Sandvoss
1)
2)
3)
Andreja Trdina, Maja Turnšek Hancic & Barbara Pavlakovic
– The shift of power? TV-series fans as producers of tourist spaces
John McManus – The away match: an anthropological take on football tourism
Suzanne van der Beek – Media Pilgrimage
PANEL 14 – City Branding in/through/and Media Tourism
Heidelberg M1-16, Chair: Nicky van Es
1)
2)
3)
4)
26
Kelly Davidson – But Belfast has the Reason: Good Vibes and Punk Nostalgia in Northern Ireland’s Creative Economy
Henrik Linden & Sara Linden – Stockholm and the 2016 Euro
vision Song Contest: Fans, Tourism and City Branding
Eugeni Osácar & Jordi Arcos – Literary tourism as a tool for tourism dynamization. The case of Barcelona and Marsé
Christine Lundberg, Vassilios Ziakas & Nigel Morgan –
Theorising the Development Of On-Screen Destinations
PANEL 15 – Crossing Borders
Tokyo M1-17, Chair: Matt Hills
1)
2)
3)
4)
Annemarie de Wildt – Themed and Simulated Spaces
Ross P. Garner – ‘Welcome to Jurassic Park (Again)!’:
Exploring Threshold Repetition, Immersion and Nostalgia in a Transmedia Franchise
Rebecca Williams – Tomb Sweet Tomb: Transmediality,
Narrative and Fandom at Disney’s Haunted Mansion
Bianca Freire-Medeiros – The aura of the replica: Spiritual
experience, entertainment and tourism
Friday 7 April
Friday 7 April 09:30 – 10:30
Tokyo M1-17, Closing keynote:
André Jansson - ‘This is not ruin tourism’ - Exploring the Spreadable City
Friday 7 April 10:45 – 12:15
PANEL 16 – Personal Media Making
Tokyo M1-17, Chair: André Jansson
1)
2)
3)
4)
Tom Phillips – The Geeks Come Out at Night: Understanding the Impact of Pokémon Go
Ruxandra Lupu – Reel landscapes - Travelling aesthetics of memory and their contemporary media representation
Zeena Feldman – Cosmopolitan togetherness and the Instagram gaze: Food bloggers, multiculturalism and mediated gastronomy tourism
Zoë Shacklock – Material Memory and Embodied Experience in Screen Tourism
27
PANEL 17 – Public Policies and Nation Branding
Praag M3-05, Chair: Nicky van Es
1)
2)
3)
Roel Puijk – Slow-television and local identity – interaction between municipalities and national television in Norway
Paul Mason – Home of the Otaku
Damion Sturm – ‘Dream Big New Zealand’? Re-framing New Zealand through popular and promotional representations of the 2015 Cricket World Cup.
Friday 7 April 10:45 – 12:45
Rochester M2-10, Chair: Emiel Martens
Introduction, screening and discussion of ‘Jamaica for Sale’ with director
Esther Figueroa
Friday 7 April 13:30 – 15:00
PANEL 18 – Music and Place Myths
Praag M3-05, Chair: Leonieke Bolderman
1)
2)
3)
Robert W. Fry – Performing Nashville: Fandom, Tourism,
Locality
Matthijs Punt – Surfin’ U.S.A. or Surfin’ California? An analysis of place-based aesthetics in the genre of surf music
Danny Hagan – ‘Suppose They Gave A Festival And Nobody Came’
Rotterdam and EUR: Getting Around
Erasmus University Campus
Locating Imagination takes place on the Woudestein Campus of Erasmus
University Rotterdam, in the Kralingen area located in the West of the
city. The conference will take place in the Van der Goot (M) building, the
conference dinner and drinks on Wednesday are in the Erasmus Pavilion
on campus. You can find map of the campus on the back of this conference
program.
Conference Party Cruise
The conference party on Thursday night takes place on a boat, sailing the
river Maas. We will sail at 19:45, returning at 23:00. The party has a
Rotterdam theme, which means you will get to experience famous Dutch
fried bar snacks such as ‘bitterballen’ – although some beg to differ, this
does not constitute dinner. Embarking and disembarking is at the pier on
Maasboulevard called ‘Boompjeskade 43’. The adress is Boompjeskade
13/14. See the white arrow on the map.
PANEL 19 - Watching the Others
Tokyo M1-17, Chair: Abby Waysdorf
1)
2)
3)
4)
28
Delphine G. Ngehndab – ‘I always see fine cars and flyovers in these series and this makes me want to travel’
Desmond Wee – Trump is German, really!
Ranjan Bandyopadhyay – ‘#Instagramming India’: The
Racialized Politics of Volunteer Tourism
Sangkyun (Sean) Kim & Seongseop (Sam) Kim – Nostalgia and Film Tourism
29
Getting to EUR
Rotterdam boasts an extensive public transport system, consisting of metros, trams, and buses.
There are five lines on the Rotterdam metro, covering the greater Rotterdam area. The Erasmus University Campus is closest to the Kralingse
Zoom station, on the A, B, and C lines. Trams and busses service most
areas of the city, the campus can be reached by Tram 7, 21 and 24 (stop
‘Woudestein’).
All public transport (as well as trains) uses the OV-Chip Card, which is
available at sales points, top-up machines and information kiosks at the
metro stations, the RET-Service Shop, post offices, Primera shops, Tabac&Gifts shops, ROTTERDAM.INFO (tourist information office), VVV
Rotterdam Info Café and via www.ov-chipkaart.nl. Disposable cards can be
loaded with hourly, daily, or multi-day unlimited passes.
Things to do
Rotterdam is a great place to visit, featuring world-class museums, shops,
restaurants, and cutting-edge architecture. We’ve put together a few
recommendations for those sticking around outside of the conference:
To get a good sense of the city, check out its many bridges (as
befitting a port city). The Erasmus Bridge and the Willemsbridge are
particularly characteristic, and both can be walked over. You can also head
up the Euromast for a view over the city, or just check out the beautiful
park surrounding it (known simply as Het Park, ‘the park’).
Blijdorp Zoo is one of Europe’s oldest, opening in 1857, and was
made a national architectural monument in 2007. It has recently opened
new enclosures for its okapi and lions, and also boasts, among many other
exhibits, polar bears, red pandas, and a bird show. Leonieke especially
recommends the ‘Steppeslurfhondjes’ – the black and rufous elephant
shrews.
Rotterdam Blaak is the architectural heart of the city, featuring
the newly-opened Markthal, with many exciting food options, and the
famous Cube Houses. The streets surrounding the area also boasts great
restaurants, bars, and shops – we particularly recommend Beijing Bao,
Bokaal, and the terraces around the Oudehaven (Old Harbor), Rotterdam’s
first harbor, with restored ships, classic houses, and new buildings.
Kop van Zuid and Katendrecht are up-and coming areas of the
city, located directly on the Nieuwe Maas. Don’t miss the Hotel New York,
former headquarters of the Holland America Line, or the Fenix Food
Factory, a former warehouse now housing multiple local Rotterdam food
businesses, including Jordy’s Bakery and the Kaapse Brouwers brewery.
De Hofbogen, formerly a train station and viaduct, is
another spot worth visiting. Accessible via a wooden bridge from Rotterdam Centraal, it boasts design shops, bars, restaurants, and coffee houses.
Don’t miss Groos, dedicated to products from Rotterdam artists and
businesses.
Witte de Withstraat is Rotterdam’s artistic and cultural hotspot,
featuring art galleries, bars, and world restaurants. Nieuwe Binnenweg is
another nice street for shopping and eating.
Museumpark is not only the site of Rotterdam’s most famous
museums, but a beautiful park and sculpture garden in itself. The Museum
Boijmans van Beuningen features a range of art, from medieval to
contemporary, and works by some of the Netherlands’ and the world’s most
famous artists, including Rembrandt, Claude Monet, and Mark Rothko.
The Kunsthal, housed in a design by Rem Koolhaas, focuses on modern
and contemporary art with rotating exhibits.
30
31
Restaurant Suggestions
La Taqueria (Hoogstraat 28a, also called Kua Tacobar)
Affordable and delicious Mexican food, including many vegetarian options.
Kaat Mossel (Admiraliteitskade 85)
Very Rotterdam, mainly fish but also caters to non-fishy people. The prices
are moderate.
Beijing Bao (Nieuwemarkt)
Chinese cuisine, homely feel.
Asian Glories (Leeuwenstraat 15)
According to Nicky the best Asian place in town.
Cafes
Melief Bender - Oldest cafe of Rotterdam, located on the Oude
Binnenweg (excellent beer-tastings!)
Aloha Bar - Bar and restaurant in repurposed tropical swimming
pool. The original elements are still there, although swimming is not
possible anymore.
Bokaal - Nice ‘gezellig’ bar with large beer selection and great
terrace, located in a bustling part of the city
Het Witte Huis - Grand Cafe located in the oldest skyscraper of
Europe, close by citizenM
Hotel New York - A classic with a nice river view, particularly good
outside on sunny days. The sea food platter is legendary.
Deliplein area
Across the river where the old red light district used to be, urban
redevelopment has gone wild. The Deliplein has a lot of nice food
options, from Kwiezien – a little bit more expensive but excellent
food – to Deli Thai – a great and affordable Thai place that is always
busy. The Fenix Food Factory is nice for both dinner and drinks,
housing different stalls and its own brewery.
Witte de With straat
You can find everything on this street, from chique to cheap. Especially recommended are Rodin, Bazaar and Gusto. A nice fast food
option is Surinam: Warung Mini.
These are just some suggestions. Rotterdam is known in
The Netherlands for its food options, so it is possible to find anything
in any price range – please ask Nicky or Leonieke for more
suggestions if you need them.
32
33
List of Participants
FIRST NAME
Ana
Jordi
Ranjan
Andrea
Leonieke
Julie
Lavinia
Deborah
James
Llewella
David
Henry
Lina
Kelly
Simona
Annemarie
Jenna
Siri
Mark
Delia
Julie
Karin
Zeena
Esther
Rica
Bianca
Robert
Ross
Jason
Jennifer
Danny
Katriina Irja
Matt
Katharina
André
Alex
Sangkyun
Seongseop (Sam)
Sarah
Henrik
Sara
Svenja
Arthur
Christine
Ruxandra
Emiel
Paul
Ruth
John
34
Stefana Carina
SURNAME
Aceska
Arcos Pumarola
Bandyopadhyay
Bieber
Bolderman
Bonniord
Brydon
Castro Mariño
Cateridge
Chapman
Crouch
Chow
Dafesh
Davidson
De Iulio
de Wildt
Diederich
Driessen
Duffett
Dumitrica
Escurignan
Fast
Feldman
Figueroa
Finger
Freire-Medeiros
Fry
Garner
Grek Martin
Grek Martin
Hagan
Heljakka
Hills
Hülsmann
Jansson
Jeffery
Kim
Kim
Lange
Linden
Linden
Lipp
Lizie
Lundberg
Lupu
Martens
Mason
Massingill
McManus
Mihaicuta
EMAIL
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
FIRST NAME
SURNAME
EMAIL
COUNTRY
David
Morley
[email protected]
UK
Holly-Gale
COUNTRY
NL
Franziska
ES
Emine Merve
TH
Apoorva
DE
Delphine
NL
Femke
FR
Neil
UK
Kelly
?
Joshua Michael
UK
Tom
UK
Julia
UK
Débora
NL
Roel
NL
Matthijs
UK
Tobias
DE
Maren
NL
Stijn
DE
Nicolette
NL
Marie-Laure
UK
Cornel
NL
Elisabeth
FR
Anne-Marie
SE
Bobby
UK
Zoe
JM
Rosa
DE
Laurie
BR
Marialuisa
US
Boris
UK
Mel
CA
Marlene
CA
Timo
UK
Andreja
FI
Maja
UK
Suzanne
DE
Nicky
SE
Sandra
UK
Abby
AU
HK
Kim
UK
Maranke
DE
Min
DE
Florian
UK
Rebecca
US
Vassilios
UK
UK
Millette
Munz
Mustecaplioglu
Nanjangud
Ngehndab
Niehof
O'Boyle
Palmer
Parker
Phillips
Pillet
Póvoa
Puijk
Punt
Rebel
Reck
Reijnders
Rohr
Ryan
Sandvoss
Scherer
Scholz
Schweizer
Shacklock
Schiavone
Slegtenhorst
Stazio
Stepanov
Strait
Stratmann
Thelen
Trdina
Turnsek Hancic
van der Beek
van Es
Wagemakers
Waysdorf
Weber
Weidmann
Wieringa
Williams
Xu
Ziakas
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
UK
DE
UK
NL
UK
?
IE
AU
AT
UK
DE
NL
NO
NL
DE
DE
NL
US
US
UK
DE
DE
US
UK
NL
NL
IT
RU
US
DE
DE
SI
SI
NL
NL
NL
NL
DE
DE
NL
UK
NL
UK
NL
JP
US
UK
AT
35
Notes
36