ABSTRACT
This chapter observes how attacks on artistic pilgrimages to disaster sites in developing areas tend to be misplaced complaints about global inequalities induced by various systems of representation. It considers how this misplacement is derivative of the ways film art has to operate within Western industrial systems, thus borrowing from their problematic representational tools. The tools are problematic in that they do not speak native idioms, thus occasionally and/or inadvertently contributing to the diffusion of what is perceived and received as prejudice by the disenfranchised. Western technology as a form of meaning-making, the chapter highlights that the speaking inability brings policy-making failures closer to Western diagnostic artwork. At the same time, however, cinematic representations and simulations of the end of tourism are useful critiques of what risk policy-makers never question. The post modern thanatoptics in kafir's tale helps to remember at all times that film making is structured into capitalist modernity.
