Newly available lightweight cine camera equipment provided affluent British
holidaymakers with an innovative travel accessory in the mid 1920s. Travel
narratives produced by early camera-touting enthusiasts may be likened to preceding
forms of travel experience depicted in art and written form, but important
differences occur too. This discussion explores issues of place representation,
ethnography and perceptions of regional identities, cultures, and histories through
reference to amateur holiday footage filmed in the Balkans in 1934. Analysis of
rural and urban scenes, traditions, and itinerary, as well as the cinematic
processes found within this filmic travelogue, are related to earlier
outsiders’ responses and contemporary travel texts including guides,
diaries and other genres of travel literature. Contemporary debates on post-conflict
identity in the Balkan region and tourism history within the Mediterranean, as well
as socio-cultural and aesthetic aspects of non-professional film-making form a wider
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