ABSTRACT
Heritage entropy manifests in digitised environments, such as those of film and tourism, which instantiate nationalistcapitalist nodes of business. It is geared towards a process of manufacturing consent', often lost amongst the labouring masses that governmobility conditions might even remove from decision-making altogether. Ideally, destination governance and cinematic tourist mobilities should be grounded in local community dialogue and values for them to be sustainable. Post-modern pilgrims can also be post-tourists, who cut across boundaries of provinces, realms and even empires, thus embracing various forms of motion: embodied, imagined and metaphorical. Whereas for Bauman pilgrimage fosters a sort of privileged esoteric journey, most of the filmmakers included in the study occupy a migrant tourist in-betweenness that implicates them in a specific version of darkest tourist or thanatourist pilgrimage. Such pilgrimage only conditionally turns the subject's temporal coordinates into abstracted space, hence positing distance between the immediate experience of death and the subject.
