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Haut de page
Notes
This article provides a welcome opportunity to analyse the film tourism aspects in detail that I could only discuss briefly in one chapter of my dissertation which will be published by De Gruyter in February 2022.
For more general information on the Día de Muertos see Stanley Brandes, Skulls to the Living, Bread to the Dead: The Day of the Dead in Mexico and Beyond (Oxford: Blackwell 2006) and Regina M. Marchi, Day of the Dead in the USA: The Migration and Transformation of a Cultural Phenomenon, (New Jersey: Rutgers University Press 2009).
The origin of the Día de Muertos as an expression of mexicanidad dates back to the post-revolutionary period – see Octavio Paz, El laberinto de la soledad [1950] (Mexico: Fondo de cultura económica, 1998), 23.
Because of their relevance, Coco and Spectre are also thematised next to ¡Que Viva Mexico! (Sergei Eisenstein, 1931) in: Giorgos Dimitriadis, “Immersion through culture: Representations of the “Day of the Dead” in Film,” Revista Canaria de Estudios Ingleses 81, (November 2020): 61-78.
Nanno Mulder (coord.), “The impact of the COVID-19 pandemic on the tourism sector in Latin America and the Caribbean, and options for a sustainable and resilient recovery,” International Trade Series 157 (LC/TS.2020/147), Santiago, Economic Commission for Latin America and the Caribbean (ECLAC), 2020, 15.
Editorial team, “Mexico,” OECD Tourism Statistics (Database), OECD iLibrary, https://www.oecd-ilibrary.org/sites/525e83e3-en/index.html?itemId=/content/component/525e83e3-en <accessed on May 23, 2021>.
Marchi, Day of the Dead in the USA, 126-127.
Mexicanist editorial team, “Coco Route: the new tourist route in Mexico that emerged thanks to Disney,” Mexicanist, January 29, 2020. https://www.mexicanist.com/l/coco-route/ <accessed January on 6, 2021>.
BBC editorial team, “How dangerous is Mexico?” www.bbc.com, February 18, 2020. https://www.bbc.com/news/world-latin-america-50315470 <accessed on May 23, 2021>.
Brian Bardwell, “James Bond Producers Offer New Clues On Mexican Incentive,” State Tax News and Analysis, March 30, 2015, 778-780.
There was a hacker attack on Sony Pictures in December 2014 and afterwards internal information were made public via leaked e-mails– Brian Bardwell, “From Mexico With Love: How Sony Got Millions in Incentives to Rewrite 007 Film,” State Tax News and Analysis, March 9, 2015, 577-578; Brian Bardwell, “James Bond Producers Offer New Clues On Mexican Incentive.”
An image of the parade in Spectre can be found here: https://www.imdb.com/title/tt2379713/mediaviewer/rm3311398144/ <accessed on October 17, 2021>.
Only in 2020 could the parade not take place because of the COVID-19 pandemic. – See for images of the real-life parade in Mexico city in 2016: https://www.cntraveler.com/gallery/mexico-city-holds-first-ever-day-of-the-dead-parade-thanks-james-bond <accessed on October 17, 2021>.
Elbert Wyche, “Pixar’s Lee Unkrich and Adrian Molina on making ‘Coco’ feel authentic,” Screen Daily, November 30, 2015. https://www.screendaily.com/pixars-lee-unkrich-and-adrian-molina-on-making-coco-feel-authentic/5124547.article <accessed on September 25, 2021>; see also, Carolyn Giardina, “‘Coco’: How Pixar Brought Its “Day of the Dead” Story to Life,” The Hollywood Reporter, December 12, 2017. https://www.hollywoodreporter.com/movies/movie-features/coco-how-pixar-brought-day-dead-story-life-1065932/ <accessed on September 25, 2021>. A cinema poster can be found here: https://www.imdb.com/title/tt2380307/mediaviewer/rm3588392961/ <accessed on October 17, 2021>
Sue Beeton, Film-Induced Tourism (Clevedon: Channel View Publications, 2005), and Wioletta Bieńkowska-Gołasa, “Film tourism in the promotion of selected tourist destinations,” Acta Scientiarium Polonorum Oeconomia 17.4 (2018): 5.
Stefan Zimmermann, “‚Reisen in den Film’ – Filmtourismus in Nordafrika” in Tourismus – Lösung oder Fluch? Die Frage nach der nachhaltigen Entwicklung peripherer Regionen, ed. Heike Egner (Mainz: Geographisches Institut Johannes Gutenberg-Universität Mainz, 2003), 76. See also: Karolina Tomala and Florence Faber, “Film tourism,” in The Long Tail of Tourism: Holiday Niches and their Impact on Mainstream Tourism, ed. Alexis Papathanassis (Wiesbaden: Gabler Verlag, 2011), 149-158.
In general, film tourism is a relatively novel area of research that covers several disciplines such as tourism sciences, film studies, marketing, and cultural geography, amongst others – Bieńkowska-Gołasa, “Film tourism,” 5. Critical perspectives towards culture are summarized in: Joshua F. Hoops and Jolanta A. Drzewiecka, “Critical Perspectives Toward Cultural and Communication Research,” in: Oxford Research Encyclopedia of Communication, (New York: Oxford University Press, 2017), 36 pages.
Domestic tourism is also important for the Día de Muertos festivities, but it cannot be considered due to the limited scope of this article and the available research material with regard to the selected films.
The rare scholarly engagements with film tourism and Día de Muertos include Amarens Kingma, Day of the Dead. An analysis of the impact of cinema on the touristic promotion (offer) and tourist experience (reception) of the Day of the Dead in Mexico. Master Thesis (Nijmegen: Radboud University, 2019).
For the state of Mexican research on film tourism in Latin America, see for instance, Rodrigo Tovar Cabañas, José Alfredo Jáuregui Díaz, Shany Arely Vázquez Espinosa, “Influencia del cine en el turismo,” El Periplo Sustentable 38, (June 2020): 244.
See for instance, Mark Speakman, “Dark tourism consumption in Mexico City: a new perspective of the thanatological experience,” Journal of Tourism Analysis: Revista de de Análisis Turístico 26/2 (2019): 152-168 and the contributions on the history of Mexican tourism in Dina Berger and Andrew Grant Wood, eds., Holiday in Mexico: Critical reflections on tourism and tourist encounters (Durham: Duke University Press, 2010).
Brandes, Skulls to the Living.
Long before Coco and Spectre, for example, Sergei Eisenstein had also thematised the Día de Muertos in ¡Que Viva Mexico! (1931, unfinished), and a comparison of the cinematic representations of the Mexican celebrations of different directors is illuminating. Eisenstein’s film project is analysed in Viola Rühse, “Sergej Eisensteins mexikanische ‚danse macabre‘ in den filmtheoretischen Entwürfen von Siegfried Kracauer,” in Totentanz in Film, Fotografie und Kunst, ed. Jessica Nitsche (Berlin: Neofelis, 2015), 47-68; and a comparison is provided in Dimitriadis, “Immersion through culture.”
The various functions of the pre-title and title sequences of three selected Bond films are analysed in Linda Racioppi and Colleen Tremonte, “Geopolitics, Gender, and Genre: The Work of Pre-Title/Title Sequences in James Bond Films,” Journal of Film and Video 66/2 (May 2014): 15-25.
Marie-Hélène Chevrier and Chloé Huvet, “From James Bond with love: tourism and tourists in the Bond saga,” Via. Tourism review (online), Vol. 14, 2018, 17 pages. http://journals.openedition.org/viatourism/3083 <accessed on January 6, 2021>.
Among the private companies that supported the filming of Spectre in Mexico were Grupo Vidanta and Grupo Alemán – Bardwell, “James Bond Producers Offer New Clues on Mexican Incentive,” 778.
Ibid., 779.
Ibid., 779.
Bardwell, “From Mexico With Love,” 577.
Melis Behlil, Ignacio M. Sánchez Prado, and Jaap Verheul, “The Dead Are Alive: The Exotic Non-Place of the Bondian Runaway Production,” in: The Cultural Life of James Bond: Specters of 007, ed. Jaap Verheul (Amsterdam: Amsterdam University Press, 2020), 92.
Barbara Vodopivec, Made in Tepito: Urban Tourism and Inequality in Mexico City (Munich: Ludwig Maximilian University of Munich, PhD thesis, 2017), 93.
See also Viri Garcia, “Films About Mexico Should Stop Focusing on Día de los Muertos and Drugs,” The Cornell Daily Sun, January 23, 2018. https://cornellsun.com/2018/01/23/guest-room-films-about-mexico-should-stop-focusing-on-dia-de-los-muertos-and-drugs/ <accessed on January 7, 2021>.
Claudio Lomnitz, “Un suicidio de la muerte mexicana,” La Jornada, November 2, 2016. https://www.jornada.com.mx/2016/11/02/opinion/016a2pol <accessed on January 7, 2021>.
Sandra Hernández García, “Tras filmación, DF se recuperará al ser Ciudad Bond,” El Universal, April 1, 2015. http://archivo.eluniversal.com.mx/ciudad-metropoli/2015/perdidas-por-filmacion-spectre-quedaran-contrarrestadastorruco-1089305.html <accessed on January 7, 2021>.
Emmanuel Ordóñez Angulo, “The Politics of Parading,” BLARB – Blog// Los Angeles Review of Books Blog, November 21, 2016, http://blog.lareviewofbooks.org/essays/politics-parading/ <accessed on January 7, 2021>.
Jacobo García, “Mexico looks to James Bond to end tourism blues,” El País International, October 31, 2016. https://english.elpais.com/elpais/2016/10/31/inenglish/1477912427_497507.html <accessed on September 26, 2021>.
Simon Schatzberg, “Mexico City’s New Day of the Dead Parade is Based on a James Bond Film,” Atlas Obscura, November 11, 2016. https://www.atlasobscura.com/articles/mexico-citys-new-day-of-the-dead-parade-is-based-on-a-james-bond-film <accessed on January 7, 2021>; Nadia Kaneva, “Between Brand Utopias and Lived Experience,” in Inclusive Place Branding: Critical Perspectives on Theory and Practice, eds. Mihalis Kavaratzis, Massimo Giovanardi, and Maria Lichrou (London: Routledge, 2018), 183.
Beeton, Film-Induced Tourism, 10–11. See also Kingma, Day of the Dead, 18.
Mexico Tourism Board, “Mexico Tourism Board Celebrates Day of the Dead,” Cision PR Newswire, October 24, 2016. https://www.prnewswire.com/news-releases/mexico-tourism-board-celebrates-day-of-the-dead-300350057.html <accessed on January 7, 2021>; Enrique López Oropeza, “The cultural appropriation of the Day of the Dead by foreign studio films,” Tensões Mundiais 16/ 31 (2020): 253.
Julia Santa Cruz Vargas and Erica Itzel Landa Juárez, “La muerte niña, un ritual funerario olvidado,” Antropología. Revista Interdisciplinaria Del INAH, 92 (2011).
Simon Schatzberg, “Mexico City’s New Day of the Dead Parade.”
Ibid.
Juliane Israel, Baedeker Reiseführer Mexiko (Ostfildern: Mair Dumont, 2019), 15.
Veronique Pittman, “Celebrating the Dead in Modern Ways,” Forbes, November 1, 2012. https://www.forbes.com/sites/fathom/2012/11/01/la-calaca-festival-san-miguel-de-allende-mexico/?sh=52d054d23ad2 <accessed on September 24, 2021>.
Brandes, Skulls to the Living, 123.
Ibid., 133.
Ibid., 129.
For instance, Brandes addresses the complex issue of Mexican national character: Stanley Brandes, “El Día de Muertos, el Halloween y la búsqueda de una identidad nacional Mexicana,” Alteridades, 10/20 (2000): 8.
Marchi, Day of the Dead in the USA, 100.
David Agren, “Mexico City’s James Bond-inspired Day of the Dead parade gets mixed reviews,” The Guardian, October 30, 2016. https://www.theguardian.com/world/2016/oct/29/day-of-the-dead-parade-james-bond-mexico-city <accessed on January 7, 2021>.
The interview with Alejandra González Anaya is quoted in Chris Scott, “Day of the Dead parade -- life imitates art,” CNN, October 28, 2016. http://edition.cnn.com/travel/article/mexico-city-day-of-the-day-parade/index.html <accessed on September 24, 2021>.
Mexico Tourism Board, “Mexico Tourism Board Announces Strategic Marketing Programme Targeting UK Growth,” Cision PR Newswire, November 8, 2016. https://www.prnewswire.co.uk/news-releases/mexico-tourism-board-announces-strategic-marketing-programme-targeting-uk-growth-600372481.html <accessed on January 7, 2021>.
Agren, “Mexico City’s James Bond-inspired Day of the Dead parade gets mixed reviews.”
Schatzberg, “Mexico City’s New Day of the Dead Parade is Based on a James Bond Film.”
The number of spectators refer to all visitors (also locals). – Schatzberg, “Mexico City’s New Day of the Dead Parade is Based on a James Bond Film” and Maria Chebulgaeva, “Digital Day of the Dead to Prevent the Virus Spread,” LACRUS, October 10, 2020. https://lacrus.org/2020/10/21/digital-day-of-the-dead-to-prevent-virus-spread/?lang=en <accessed on January 7, 2021>.
López Oropeza, “The cultural appropriation of the Day of the Dead by foreign studio films,” 253.
Schatzberg, “Mexico City’s New Day of the Dead Parade is Based on a James Bond Film”.
See also Kevin Fox Gotham, “Theorizing urban spectacles. Festivals, tourism and the transformation of urban space,” City, 9/2 (July 2005): 235.
David Harvey, “Voodoo cities,” New Statesman and Society 1, (30 September 1988): 33–35.
Lomnitz, “Un suicidio.”
Ashton Adie, René G. Cepeda, “Film tourism and cultural performance: Mexico City’s Day of the Dead Parade,” in Inclusive innovation for enhanced local experience in tourism – Workshop Proceedings, eds. Endrit Kromidha and Sirpan Deesilatham (Phuket: University of the Thai Chamber of Commerce and University of Birmingham, 2018), 34.
Ibid.
Brandes, Skulls to the Living, 77-92.
Marchi, Day of the Dead in the USA, 127.
Ibid., 123.
López Oropeza, “The cultural appropriation of the Day of the Dead by foreign studio films,” 253.
To date, mega-events have often been thematised in relation to sporting events, see for example Nelma Gusmão de Oliveira, Mega-events, city and power (Abingdon / New York: Routledge, 2021).
The contemporary society that needs such mega-events is analysed in Christoph Türcke, Erregte Gesellschaft. Philosophie der Sensation (Munich: C.H. Beck, 2012).
López Oropeza, “The cultural appropriation of the Day of the Dead by foreign studio films,” 254.
Robert V. Kemper, “Tourism,” in Oxford Encyclopaedia of Mesoamerican Culture vol. 3, ed. David Carrasco (New York: Oxford University Press, 2001), 250.
Andreas Neef, Tourism, Land Grabs and Displacement: The Darker Side of the Feel-Good Industry (Abingdon / New York: Routledge, 2021), chapter 3.
Wyche, “Pixar’s Lee Unkrich and Adrian Molina on making ‘Coco’ feel authentic;” Giardina, “‘Coco’: How Pixar Brought Its “Day of the Dead” Story to Life.”
Ilan Stavans, “‘Coco’ and Mexico’s Infatuation With the Afterlife,” The New York Times (International Edition), December 12, 2017. Stavan’s assertion is problematic because it only refers to American/international films and the Mexican film industry is not considered.
Jonas Cußler, “Disney und Rassismus-Vorwürfe,” TelevIZIon 31, (2018/2): 31-33.
Viola Rühse, Film und Kino als Spiegel. Siegfried Kracauers Filmschriften aus Deutschland und Frankreich (Leipzig: Academy of Fine Arts, PhD thesis, 2020), 265.
Rühse, Film und Kino, 266.
Ben Child, “Disney drops bid to trademark Day of the Dead,” The Guardian, May 8, 2013. https://www.theguardian.com/film/2013/may/08/disney-trademark-day-dead-festival-pixar <accessed on September 25, 2021>.
Rühse, Film und Kino, 266-270.
Doug Stanglin, “Mexico travel warning: U.S. urges citizens to avoid 5 Mexican states,” USA Today, January 11, 2018. https://eu.usatoday.com/story/news/world/2018/01/11/mexico-travel-warning-u-s-urges-citizens-avoid-5-mexican-states/1023620001/ <accessed on January 7, 2021>.
Yucatan editorial team, “40 million tourists visited Mexico in 2017,” The Yucatan Times, March 11, 2018. https://www.theyucatantimes.com/2018/03/40-million-tourists-visited-mexico-in-2017/ <accessed on January 7, 2021>.
MSL (New York, USA), “Celebrating Day of the Dead to Bring Life to Mexico’s Tourism Industry,” award submission materials for The International Business Awards, 2019. https://stevieawards.com/iba/msl-travel-tourism-campaign <accessed on January 7, 2021>.
Journal of Hispanic Policy – editorial team, “Coco and Tourism in Mexico,” Journal of Hispanic Policy Online – Feature Articles. https://hjhp.hkspublications.org/2018/02/23/coco-and-tourism-in-mexico/ <accessed on September 24, 2021>; Josimar Lara, “Lista, la ruta turística de Coco en Michoacán,” MiMorelia.com, October 20, 2018. https://www.mimorelia.com/lista-la-ruta-turistica-de-coco-en-michoacan/ <accessed on September 24, 2021>.
Beeton, Film-induced Tourism, 10-11; see also Kingma, Day of the Dead, 18.
Lara, “Lista, la ruta turística de Coco en Michoacán;” Margot Castañeda de la Cruz,. “¡Lista la ruta de Coco para Día de Muertos! Recorre los nueve pueblos,” Chilango, October 25, 2018. https://www.chilango.com/viajes/escapate/ruta-turistica-de-coco/ <accessed on January 7, 2021>. No Coco tours were announced in 2020 due to the COVID-19 pandemic.
José Carlos Naranjo, “Una ruta para descubrir el Día de Muertos a través de ‘Coco’,” Crónica Directo, October 31, 2018. https://cronicaglobal.elespanol.com/cronica-directo/curiosidades/ruta-dia-muertos-coco-mexico_195499_102.html, <accessed on January 7, 2021>.
MSL, “Celebrating Day of the Dead to Bring Life to Mexico’s Tourism Industry.”
Ibid.
In total, over 900 articles and 583,000 posts were published worldwide, ibid.
Ibid.
Mexicanist editorial team, “Coco Route.”
Ibid.
Marchi, Day of the Dead in the USA, 126-127.
See also Marchi, Day of the Dead in the USA, 131.
Marchi, Day of the Dead in the USA, 126-127.
In 2020, however, the parade did not take place because of the COVID-19 pandemic.
Fitch Solutions team, Mexico Tourism Report: Q3 2020, London: Fitch Solutions 2020, 21.
Rühse, Film und Kino, 265.
López Oropeza, “The cultural appropriation of the Day of the Dead by foreign studio films,” 254.
Ernesto Martínez Elorriaga, “Janitzio, con magra concurrencia en la Noche de Muertos,” La Jornada, November 2, 2020. https://www.jornada.com.mx/ultimas/cultura/2020/11/02/janitzio-practicamente-desierta-en-la-noche-de-muertos-9779.html <accessed on January 6, 2021>.
Garcia, “Films About Mexico.”
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