Volunteer Tourism but you can choose any subject relative to tourism Essay

Volunteer Tourism but you can choose any subject relative to tourism - Essay Example Some of the subjective factors are age, education, economic status, gender, etc and the objective factors are cultural, social, economic, environmental ones. Indeed a volunteer tourist’s perception of a destination is supposed to be influenced by both subjective and objective factors. An in-depth knowledge of the factors that influence the tourist demography’s perception of destinations can help both the entrepreneurs and the academicians in this sector. Rationales for the Research In current tourism discourses, ‘volunteerism’ or ‘volunteer tourism’ is a nascent idea that is related to a wide range of socioeconomic, cultural and environmental concerns. During these days, the growing individual interest in the alluring yields of alternative tourism in response to the lacks of mass tourism has drawn increasing academic as well as commercial attention to the idea of volunteer tourism. On one hand, modern tourism industry increasingly shifts its at tention from the conventional mass tourism to the volunteer tourism utilizing the consumers’ interest in unique tourism experiences and on the other hand, the frontiers of tourism industry are constantly confronted with the socioeconomic, cultural and environmental concerns while propounding an all embracive definition, of volunteer tourism, that necessarily will define its relationships with those concerns. Since the term â€Å"volunteer tourism† is more of the generalization of a tourism concept that serves as an alternative to the concept of a mass conventional tourism, it appears to be the premise for other particular tourism products such as ecotourism, cultural tourism, adventure tourism, etc that include volunteer components and authenticity of experiences more than conventional mass tourism can offer. Indeed though the tourism industry and its role as direct tourism service providers are quite adaptable with the concept of mass tourism, tourist industry and vol unteer tourism are conceptually contrastive with each other, since volunteer tourists want to â€Å"benefit from displaced self-understanding and the freedom to go beyond the limits that frontiers [of tourism industries] present† (Wearing, 2001:2). Therefore, whereas mass tourism allows the operators of tourism industries to exert control over the tourists’ activities to adhere to the socio-cultural and environmental protection protocols, to an extent that is greater than the volunteer tourism products allow the operators, since the freedom-zeal expected by the volunteer tourists is in direct contrast with such control. It seems that the tourism industry operators are thrown in endless struggle to make them more flexible and adaptable with these expectations meet the tourists’ expectations freedom to go beyond the limitation of conventional tourism industry, as Igor Ackerberg and Parkpoom Prapasawudi say, â€Å"Currently, the sector is moving toward higher comm ercialization with more profit-oriented companies offering volunteer tourism packages, making the study of volunteer tourists’ perception

Take home exam Essay Example | Topics and Well Written Essays - 1750 words

Take home exam - Essay Example Greek mythologies can also create settings of imaginative entertainment. In these instances the ancient myths could become filled with an imaginative art and intellect not clearly obvious to an ordinary audience. Genre cinema, like war or western, which on the surface is totally remote or different from the classical period, could still use themes or plots known from the distant past, especially those about heroes, gods, and goddesses. Greek mythology has a lasting cinematic appeal. These myths continue to exist and attract filmmakers not because they really happened or merely creations of the imagination but because they are believed to be facts in popular culture. The cinema may not portray the traditional renditions of the mythologies but it depicts widely accepted ideas, the occurrences people usually resort to for simple, practical stories which relate to their actual experiences and can be used in their everyday endeavours. These myths explain life’s most important conce rns and provide tales to live by. We do not have to believe in the tales of Greek mythologies, but we may believe that there is power within us that we can draw upon to wrestle injustice. These Greek mythologies also express innate and religious principles of golden ages. There are obviously numerous similarities between religious experiences and movie watching. A film based on Greek mythology merges entertainment with religious intentions. Although cinema obliges the mythological characters to be portrayed as plain human beings and their behaviours and deeds have to be shown rationally, it is quite easy for a lot of moviegoers to appreciate things that are impossible or that challenge reason, like miracles. When cinema attempts to portray impossible things in a scientific way, it loses its marvel and fascination for the divine. A lot of audiences take pleasure in the wonder and awe of Greek mythologies portrayed through cinematic effects. The connection of the audiences to the cine matic gods and goddesses could be attributed to the typical devices of character attachment and the affinity that an audience could develop for cinematic characters. In fact, one of the strongest appeals of Greek mythologies is viewing one’s created heroes, gods, and goddesses on film. Cinema gives life to the mythological characters. Cinema also enables fascination and glamour in that the filmmakers can pick fine-looking, attractive actors; locations can be lavish or delicate; and the soundtrack is performed by the most talented artists. Silent cinema, in particular, expresses an insatiable enthusiasm for myths of ancient Greece. Greece offered special effects, the supernatural, desires, and fantasy. Film representation of Greece mythologies and heroes bear an intense physical power; their images are entertaining, their imagination unhindered by the pressures of history, and their language is simple. But it is essential to bear in mind that their main characters depict not o nly the sexual conventions of 1950s’ film than those of classical Greece. The myth of the Greek hero has clear similarities with western hero mythology, which partly explains Greek mythology’s cinematic appeal. Main themes like adventure, bloodshed, and immortality persistently reappear in