Abstract
The article develops a theoretical framework for the critical examination of cinematic tourist design. Considering ‘film-induced tourism’ as part of a bigger system involving the design of mobilities, it interrogates the connection between the aesthetic and ethical principles that end up informing the engineering of national hospitality in media platforms. The design, which is managed by a ‘worldmaking authority’ or network encompassing the host nation state and international tourist and media markets, conforms to the rationalised rules of what Boltanski and Chiapello termed the ‘new spirit of capitalism’, which mobilises romantic ideals of individual freedom to sell landscapes and exotic cultural characters. The phased development of such mobilities conforms to contingency and is indifferent to the welfare of particular social groups. The model is exemplified through the phased design of mobilities out of two films with virulent sexist and antisemitic content centred on the journeys of the fictional Kazakh journalist Borat to the United States.
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