Tea-Horse Road tourism, theme parks, and themed residential and commercial spaces

2020 ◽  
pp. 215-244
Author(s):  
Gary Sigley
2020 ◽  
Vol 24 (4) ◽  
pp. 515-526
Author(s):  
Glenn McCartney ◽  
Karen Cheong Su Man

The global popularity and rise of superhero movies from companies such as Marvel, DC Comics, and Dream Works has led to these superhero icons being increasingly integrated into the event and entertainment industry, through brand alliances at movie theme parks and integrated resort complexes, or individual attractions such as the Batman Dark Flight (BDF) ride studied in this research. Given the significant costs to license, stage, and maintain superhero branded entertainment zones and rides at integrated resorts (IR), this preliminary study importantly examined the rationale behind visiting the ride and ultimately the ride's overall influence in IR visitation. Respondents were questioned while queuing for the BDF ride collecting 304 valid responses specifically asked on their level of interest in Batman including the motives for choosing the ride. Notably the study revealed that the BDF was essentially a peripheral attraction. In the absence of the ride, most respondents would still have visited the IR. Although a preliminary analysis, the findings suggest greater assessment is required on the net economic and competitive worth of event and entertainment hosting at Macao's IRs and in particular to Chinese audiences who make up most of Macao's visitation and this study sample.


2012 ◽  
Vol 7 (2) ◽  
pp. 38-40
Author(s):  
A. Grogan
Keyword(s):  

2011 ◽  
Vol 15 (1-2) ◽  
pp. 237-239
Author(s):  
John Renard
Keyword(s):  

2017 ◽  
Vol 14 (2) ◽  
pp. 305-333
Author(s):  
VICTOR SZABO

AbstractIn the liner notes to his albumAmbient 1: Music for Airports(1978), Brian Eno (1948–) defined Ambient music in contradistinction to Muzak's ‘derivative’ instrumental pop arrangements. Ambient music's historians and critics have often followed Eno by describing Ambient music as an alternative to conventional ‘background’ or ‘programmed’ music for commercial spaces. Such descriptions can be misleading, however, given that Ambient music's dominant mode of reception is selective personal consumption, not public administration. This article investigates the aesthetics of Eno'sAirports, and elucidates the organizing role of the Ambient genre, within their primary reception context of personal recorded music listening. A comparison with The Black Dog'sMusic for Real Airports(2010) shows how Ambient music then and now reflexively affords atmospheric use by translating a sense of physical dwelling and passage into mixed musical moods. By expressing ambivalenceaboutthe reality of airports and air travel, these Ambient records characteristically convey apprehension about the technological administration of human experience – a phenomenon that includes personal recorded music listening.


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