![]() 116–117): who says what about its qualities and histories exert influence on the basis of social status, cultural development and political contingency. Place is the product of a network of memories suspended in competing narrative networks ( Ricoeur, 2004, pp. ![]() This agency, we argue in the conclusion:Ĭontextually interact to produce entanglements of belonging to social and cultural worlds in flux. In the third and fourth sections, we present a phased development of Crete’s image-based tourismification to conclude on the significance of time lapses in the development of human agency in such contexts. We use a discursive framework to examine multimodally different data that survived across six decades of tourismification or generated during our field research (second section). We place emphasis on the style in which such conscious/unconscious processes happen by actors to foster interpretation of what needs doing often “on the go”: to respond to emerging challenges that could not be anticipated through neat planning. It does so by considering placemaking techniques used consciously by tourist institutions and organisations and less consciously by those who find themselves catering for tourists as a worldmaking process that evolves in time. Taking Zorba the Greek (heretofore ZG), a film that generated tourism on Crete, as an example to revisit debates on the production of place in contexts of image-based tourismification, this paper highlights the significance of the less-studied temporal aspect of the remaking of place. ![]() The full terms of this licence may be seen at Anyone may reproduce, distribute, translate and create derivative works of this article (for both commercial and non-commercial purposes), subject to full attribution to the original publication and authors. This article is published under the Creative Commons Attribution (CC BY 4.0) licence. ![]() Published in Tourism Critiques: Practice and Theory. Copyright © 2021, Rodanthi Tzanelli and Dimitris Koutoulas. ![]()
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