Moving Pictures/Stopping Places

David B. Clarke is chair of human geography at Swansea University, Wales, UK. Valerie Crawford Pfannhauser is an independent film scholar in Vienna, Austria. Marcus A. Doel is a research chair of human geography at Swansea University, Wales, UK.

• Chapter 1 Checking InChapter 2 Revisiting the Grand Hotel (and Its Place in the Cultural Economy of Fascist Italy)Chapter 3 Floating Hotels: Cruise Holidays and Amateur Film-making in the Inter-War PeriodChapter 4 Vacancies: Hotels, Reception Desks, and Identity in American Cinema, 1929–1964Chapter 5 The Swiss Hotel FilmChapter 6 Cinematic Topographies in Time-Space: Wim Wenders' HotelsChapter 7 The Decay of Fiction and the Poetics of PastnessChapter 8 'Now, Where Was I?': Memories, Motels, and Male HysteriaChapter 9 'Just an Anonymous Room': Cinematic Hotels and Motels as Mnemonic PurgatoriesChapter 10 No Sympathy for the Devil or Lobby Music: Spaces of Disjunction in Barton Fink and the The Shining and MuzakChapter 11 Parallel Hotel WorldsChapter 12 No Quarter(s), No Camel(s), No Exit(s): Motel Cactus and the Low Heterotopias of SeoulChapter 13 Off the Highway: Some Notes on Stopping Places in CinemaChapter 14 The Real of the Screen: Atom Egoyan's Speaking PartsChapter 15 Departure: The 21st Century Hotel: Your Media/Home Away from Home

Moving Pictures/Stopping Places should appeal to both the structuralists and the post-structuralists among us. The editors certainly extol the multiple discourses presented in the book...This is a book that one can dip into when looking for theoretical insights into particular accommodation spaces or to explore analysis that situates the hotel and motel at the intersection of both social imaginaries and lived realities....In reading Moving Pictures/Stopping Places those working within hospitality studies should be encouraged to question the borders and boundaries in which their own particular knowledge is sought and produced. As such, this book certainly fulfills the call in the initial editorial for this journal to ‘share insights derived from various backgrounds, engage in vigorous debate and contribute to the intellectual possibilities for the investigation of hospitality’. If we are to do so, this book gainfully works towards and supports Lugosi’s aim of challenging orthodox epistemology's within hospitality and tourism studies more broadly. Thus, and to paraphrase Levi-Strauss, Moving Pictures/Stopping Places is a book that (re)presents hotels and motels as ‘good to think’.