Tourism-related
environmental politics in Thailand are examined in
a case study of the controversy surrounding the shooting
of the film version of “The Beach,” a
book on a backpacker commune on an undiscovered “island
paradise” by Alex Garland (1996). The article
focuses on the paradox of the film-makers’ insistence
to transform Maya beach, a spectacular pristine beach
located in a national park on Phi Phi Lae island in
southern Thailand, to suit the stereotype of a “tropical
island beach” on Garland’s imaginary island.
The various stages of the protracted struggle between
the opponents of the project, and the producers of
the film and the authorities who permitted the changes
to Maya beach are described. The composition of the
contending camps, their motives and interests are
examined, as well as the discourses and counter-discourses
by which they presented their case. The changing strategies
of the opponents of the project, from protest, to
appeals and finally lengthy litigation, leading from
initial failures to eventual partial success, are
detailed. The permanent damage to the beach, despite
efforts to restitute it after the filming, are assessed.
The authorities policies after the event to “regulate”
tourism to the beach are noted. In conclusion, the
manifold absurdities, of possibly wider significance,
involved in the transformation of a “real”
pristine beach to suit an imaginary “ideal”
one are expounded. |
