Metro SPECIAL feature
this category, where the hostile envi- activity, from actual visitation through
Landscapes as
characters:
Film, tourism and a sense
of place
Reflecting on fieldwork experi-
ences, Sue Beeton identifies the
starring role of the high country in
The Man From Snowy River and
considers the insights afforded
by film-related tourism.
Introduction
The power of the concept of ‘place’
in relation to humankind is acknowl-
edged by social commentators, phi-
losophers and psychologists. Films
not only present places as a backdrop
to the action, but also, at times, as
characters of the narrative, which pro-
vides a level of emotional attachment
for the viewer, especially when the
setting is integral to the story and, in
effect, a star in its own right.1 Further-
more, filmic landscapes can become
‘landscapes of the mind, offering dis-
placed representations of desires and
values … [being] both material and
mediated’.2 Consequently, they often
engender strong emotional responses.
While urban places feature in numerous
films, rural landscapes have taken cen-
tre stage in movies since they were first
produced, including the Australian bush-
ranger films that started with The Story
of the Kelly Gang (Charles Tait, 1906)
and US westerns such as Stagecoach
(John Ford, 1939). These landscapes
can play powerful roles in the narrative
and, as noted by Beeton, ‘[m]any of the
above: the man
from snowy river traditional American westerns fall into
114 • Metro Magazine 166
ronment takes an active role, at times
even becoming the primary character or
“star”, and the native Indians are seen
as part of this hostile land’.3
This can also been seen in Australian
film and Australians’ self-image. For
much of the country’s Anglo-Saxon his-
tory, Australians identified themselves
through the critical gaze of distant ‘oth-
ers’ looking in, such as the English in
Britain4 and, later, Hollywood. As Ross
Gibson affirms, ‘under Australian skies
we are looking with western eyes’.5 The
Hollywood format of storytelling (and
national perception), he argues, has
become endemic. Gibson also explains
that development of an Australian self-
image relies heavily on our film-based
stories, as the Australian landscape
‘hasn’t been incorporated into the
symbolic order’ prior to the introduction
of film as storytelling (and meaning-
making) as in other, older cultures.6
With the postwar growth of American
influence on Australian culture, particu-
larly Hollywood’s, Australians moved
from a British perspective towards
seeing themselves through the eyes
of Hollywood. According to Tearlach
Hutcheson, even ‘iconic’ Australian
movies such as Picnic at Hanging Rock
(Peter Weir, 1975), Gallipoli (Peter Weir,
1981), The Chant of Jimmie Blacksmith
(Fred Schepisi, 1978) and Breaker
Morant (Bruce Beresford, 1980) were
all Hollywood-centric, arguing that this
was ‘the way that Hollywood and the
media … had forced Australians to
view themselves’.7
Peter Hutchings notes that landscape
can also be used to illustrate a rural
idyll that reflects a nation’s heritage
and even identity.8 This paper, however,
argues that this relationship between
viewer and tourist is far more than
a desire to re-create a passive rural
idyll. In many movies, the landscape
(or ‘nature’) is an active character to
be conquered, understood or even
accepted as beyond our control (for
example, the eponymous rock in Picnic
at Hanging Rock is presented as an
invasive, brooding presence that can-
not be ‘humanised’9) and sometimes
it is even the protagonist, reclaiming
the world from human development.
This can, in turn, influence tourism
to tourists’ attempts to connect with
their emotional response to a film at
the place in which it was set/filmed.
As was noted in the federal govern-
ment’s 2003 National Tourism Strategy,
not only can ‘the film industry … help
tourism promotion … [but] Australian
film and television is the most readily
accessible and effective medium for
providing an insight into Australia’s
landscape, lifestyle and political, social
and cultural environments.’10
The concept of tourism continues to
be complex and contested, and it
can be described in numerous ways
depending on the perspective of the
commentator.11 For this work, the
touristic aspects of movement, emo-
tion and experience are most relevant,
denoting a sense of travel, change and
even transformation – the ingredients
of many films, especially road trip
movies.12 Taking a primarily autoethno-
graphic approach, this paper discusses
the role of the location in the popular
Australian movie The Man from Snowy
River (George Miller, 1982) and its influ-
ence on the behaviour of visitors to the
region in which it was set, particularly
those engaging in adventure horse-
back tours, either as guests or staff.
Discussion of film and tourism often
falls into one of two camps depending
on the primary field of the writer, with
much of the work from the cinema/
media studies perspective tending to
ignore the growing body of literature
on film and tourism from the discipline
of tourism studies itself. Furthermore,
there is a tendency to confuse films
that depict tourists with those that
induce tourists to visit a place. While
the former may encourage tour-
ism, it is a different genre from that
being discussed here. This paper is
firmly grounded in tourism and, while
attempting to cover some of the main
elements of cinema and landscape
studies, it does not purport to cover
all of the media-based literature. That
said, there remains a dearth of literature
that considers the role of landscape in
film and its intersection with tourism.
Place as character
As noted above, the place where a
story is set can be much more than a
passive backdrop to the action; it can,
in fact, be a significant player or char-
acter in a movie. The ‘phantom rides’
of the early 1900s placed the viewer
as central to the landscape by filming
train journeys through significant tour-
ist places with the camera placed on
the front of the engine. While devoid of
people, the notion of travelling through
the landscape in these films presents
the land itself as the lead character
or star.13 Australia’s early film industry
also used the landscape as a char-
acter, especially in the ‘bushranger’
movies (1904–14), in which the bush
was a friend to the outlaw and an
enemy to those attempting to uphold
the law; these landscapes were not
benign backdrops, but integral to the
tale. According to William Routt, the
bushranger movies presented ‘bush-
rangers [who] do not control the hills:
rather, for a time they express them.’14
While the concept of the Australian
landscape as an active character is
not new, there has been little discus-
sion as to the relationship of place as
a character in film and its role in the
concomitant tourist experience. Yet,
there is a definite, almost inherent
connection that clearly resonates with
those with whom it is discussed, at
times resulting in an over simplifica-
tion of the phenomenon. Looking at
Gibson’s introductory statement on
landscape in Australian films, it is not
difficult to imagine the attraction of the
filmic landscape for tourists beyond
simply the picturesque:
Table 1: ‘Place’ as a character in road movies and westerns
Movie Location/Place Role of ‘Place’ Appeal/Legibility
Stagecoach Monument Valley, A harsh, unforgiving and Good vs evil – the land as well
USA uncontrollable protagonist that is as people (criminals, Native
inaccessible and challenging. Americans) are overcome by the
hero. Strong visual images for
tourists to experience and take
home as a souvenir.
The Story of the Melbourne The bush as a place both to hide The good, downtrodden common
Kelly Gang from (to be feared) and in (to be man vs a corrupt bureaucracy,
embraced). where the landscape (bush)
supports the downtrodden hero.
Ned Kelly South-eastern Threatening Australian bush The bushranger was more Robin
(Tony Richardson, Australia reinforcing the tragic fate that Hood than a bushman. Lack of
1970) awaits the hero. intimacy with the land and the use
of a foreign pop star in the lead role
creates a sense of dislocation.
Ned Kelly Victoria Dark, foreboding rural landscape. Bushranger as bushman. An
(Gregor Jordan, innocent forced into crime, creating
2003) a rebel hero.
Man from Snowy Alpine National Park Australian bush culture – the land Reinforcement of an imagined
River; Man from as nurturer and protagonist. Final bush heritage. International appeal
Snowy River II frontier adventure in which a man of final frontier in a ‘safe’ visitor
(Geoff Burrowes, and horse strive together against destination.
1988) the fickle environment.
Crocodile Dundee Kakadu National Park Australian bush culture – Supporting an imagined outback
(Peter Faiman, humour. Those that understand culture experienced by few
1986) the land can survive. Australians. International appeal of
final frontier in a destination that
Americans can travel through safely.
Mad Max II New South Wales Futuristic, post-nuclear world. Landscape not perceived as
(George Miller, Foreign, barren landscape. Land Australian by either local or
1981) as enemy. international audiences.
The Adventures of Outback Australia A direct contrast to the city- Liberation of attitudinal norms (for
Priscilla, Queen of based culture of the drag all characters).
the Desert community. Also representing
conflict between cultural
sensitivities.
Rabbit-Proof Fence Outback Australia A place for displaced Indigenous The land is where the children are
(Phillip Noyce, children to flee to and through; a able to be themselves and reclaim
2002) place of freedom. their home and family – reaffirmation
of a tough form of ‘rural idyll’.

Mad Max fights for hegemony over it.
Picnickers are subsumed into it, never
ever to return. The man from Snowy
River spurs his small and weedy beast
in a race to master it … [T]he country
becomes something much more sig-
nificant than the environmental setting
for indigenous narratives.15
Many films from Australia, the US and
Canada presented their natural envi-
ronments as ‘a haunting or brooding
presence, that dominates and shapes
the actions’.16 As such, location plays
a major role in many movies, particu-
larly those in the western and road
trip genres (incorporating metaphori-
cal, emotional and physical journeys),
Last Ride Outback Australia
which in turn have a strong relation-
ship with tourism. In classic American
road trips such as Easy Rider (Dennis
Hopper, 1969), Forrest Gump (Rob-
ert Zemeckis, 1994) and Thelma and
Louise (Ridley Scott, 1991), as well
as Australian movies such as The
Adventures of Priscilla, Queen of the
Desert (Stephan Elliott, 1994), Wolf
Creek (Greg Mclean, 2005), Last Ride
(Glendyn Ivin, 2009) and even Mad
Max (George Miller, 1979), the ‘road’
(landscape or place) is a significant
A place for displaced white The land brings the personality of
people to flee to and through. the characters into stark relief. The
A place of personal redemption landscape is large; the humans at
and self-awareness. times insignificant.
character, the ‘place’ significantly
impacting on the characters’ journey
along with those they connect with
and, subsequently, the overall story.
Movies such as The Man from Snowy
River have been referred to as ‘Aus-
tralian westerns’, sitting comfortably in
a genre where the landscape plays a
powerful role. While the notion of ‘road
trips’ and westerns has been studied,
the concept of the place itself as a
character has rarely been articulated

Metro Magazine 166 • 115

 Metro SPECIAL feature
outside studies of popular media, par-
ticularly in relation to tourism. Table 1
presents some examples of Australian
movies from these genres in which
place has played a central role, in turn
influencing tourism and associated
recreational activities. The early US
western Stagecoach is also included
as a point of reference.
As such, landscape in film and TV can
take a lead role, in which it is the pri-
mary protagonist, or a supporting one,
where landscape reinforces the tone
of the human characters. For example,
a dark, brooding land may be used to
support an evil character, whereas a
landscape that claims its own victims
(causing death through exposure to
the elements) or that re-claims the
land from human development brings
the landscape into focus as a leading
character in the story.
Film imagery and destination
image
The relationship between film and the
image of a destination has been con-
sidered in some detail in the field of
tourism research.17 For example, it is
generally accepted that New Zealand
tourism has benefited from Peter Jack-
son’s Lord of the Rings trilogy (however,
not as significantly as commonly
thought18) and Tourism New Zealand
utilised the role of the landscape in
the movies to reinforce its image as a
place comprising wild and free natural
environments. In his discussion on New
Zealand filmscapes, Jonathan Rayner
supports this from the filmmakers’
perspective, noting that ‘the landscape
and conventional, romantic readings of
its beauty and diversity occupy crucial
positions in the making and marketing
of the [Lord of the Rings] trilogy … and
turns the locations used … into tourist
attractions in their own right’.19
Furthermore, Victoria’s high country
has promoted itself as ‘Man from
Snowy River country’ since the late
1980s, and places throughout England
(especially Oxford) have taken on an
additional aura since the Harry Pot-
ter franchise. More recently, Tourism
Australia invested in a destination
marketing exercise and advertising
campaign based firmly around the
116 • Metro Magazine 166
landscape and story of ‘walkabout’
Australia’s and ‘transformation’ in Baz Luhr-
mann’s Australia (2008).20 Instead of
early film simply using the movie within what has
industry become the more traditional you’ve-
also used the seen-the-movie-now-visit-the-set
style of promotion, Tourism Australia
landscape as engaged Luhrmann to develop a
a character, series of filmic advertisements that,
especially while relating to the movie, would
also stand on their own if the movie
in the ‘failed’ and that would be intelligible
‘bushranger’ to people who have not seen the film.
movies Basically, he took the aforementioned
emotional concepts of ‘transforma-
(1904–14), tion’ and ‘walkabout’ and included the
in which the previously unknown star of the movie,
bush was a Brandon Walters, in the narrative.
While it is still too early to confidently
friend to the assess the campaign’s success, initial
outlaw and evidence is that, while not critically
an enemy well received, the movie and advertise-
ments are achieving their goals in their
to those target cinematic and tourist markets.21
attempting
to uphold the While not actually referring to the
activities of media audiences in terms
law; these of tourism, Sue Turnbull supports the
landscapes notion that audiences are not passive
were not consumers of media such as film and
television; rather, audiences actively
benign engage with the media, often creating
backdrops, their own ways in which to do this.22 In
but integral the early 1980s, Umberto Eco not only
noted this shift from a passive media
to the tale. audience, but also showed significant
prescience in discussing the need to
‘start again from the beginning, ask-
ing one another what is going on’.23
Another concept that provides a link
between film and tourism is sociologist
John Urry’s ‘tourist gaze’, which is not
simply passive gazing at a picturesque
or filmic site, but engaging with the
tourists’ spaces and places.24 Hence
the active film audience also engages
actively in a tourist gaze, and it has
found new ways to understand and
engage with popular media and tour-
ism. Turnbull also notes the increase
in ethnographic-based research in the
study of (non-passive) media audi-
ences,25 which leads into the research
approach taken in this paper, as
outlined below.
When the researcher
becomes the researched:
anthropological and ethno-
graphic approaches
As tourism research moves from a pri-
mary focus on quantitative measures
of tourist activity towards a broader
desire to understand the depth of indi-
vidual responses to tourism (a similar
shift to media studies26), researchers
in the field have become increas-
ingly interested in the approaches
offered in other disciplinary areas.
As a field of study, tourism research
engages heavily with the tourism expe-
rience and often involves participant
observation, as well as a high level of
investigator immersion in the act of
tourism and, at times, self-reflection.
Researchers in the social sciences,
particularly anthropologists and eth-
nographers, acknowledge the place of
the researcher within the researched,
noting the significance of being self-
reflexive.27 Carolyn Ellis notes that the
concept of autoethnography extends
these notions of immersion and self-
reflexivity into the world of individual
researchers by presenting their studies
through a personal narrative that allows
them to examine their own journeys.28
Certainly, in a field such as this, where
the researcher often undertakes travel
and tourist activities in order to study
the concept of tourism in others, this
approach can contribute to our under-
standing of tourism. While such an
approach is relatively under-utilised, it
is becoming more prevalent in spite of
resistance from some more traditional
research areas.29 As Beeton notes,
[S]uch an approach runs the risk of
being criticised as self-indulgent story-
telling and has been keenly debated
(Coffey 1999; Sparkes 2000), [however]
by applying the rigour of a narrative
research methodology as outlined by
researchers including Reed-Danahay
(1997), such self-reflexive material can
yield a rich bounty.30
By taking a partially autoethnographic,
mixed-method approach, the voice in
this paper moves from the impersonal
third person to the personal first person
as required, in an approach supported
and actively demonstrated by Ryan.31
Placing the tourist in The
Man from Snowy River
country
Often seen as Australia’s version of
 1
the American western, The Man from
Snowy River resonated with Australian
and American audiences alike. Based
on the iconic poem of the same name,
the movie depicts the coming of age
of Jim Craig, a young bushman played
by Tom Burlinson, who re-captures
a valuable thoroughbred that had
escaped to join the wild bush horses.
Set in the mountainous high country of
south-eastern Australia, the landscape
is a powerful character in the movie. In
an early scene, after inheriting a cot-
tage, Jim is told by the experienced
mountain men that he ‘has to earn
the right to be here’: the land is to be
understood and respected. Spectacu-
lar features of the landscape such as
rocky mountain outcrops dominate
the film, never letting the viewer forget
its presence. Craig’s Hut, built for the
movie, was set in an open, harsh envi-
ronment with the landscape dominating
(Image 1). The rocky outcrop seen in
the background looms silently in many
of the mountain scenes in the movie.
By demonstrating a high level of skill
and bravery, along with the ability to
read the landscape, Jim eventually
earns his right to be there. Later in the
movie, his love interest, after being
rescued from the dangers of the high
country, also says, ‘I can see why you
love it here’. Such is the power of this
landscape as a character – it almost
kills her, yet she comes out of her
ordeal loving the landscape.
The tourist experience and
personal attachment to the
landscape/place
A way to witness others’ levels of
attachment to particular meanings of
place as character is seen in terms
of the desire to re-enact or undertake
the activities seen on screen. Many of
2 one guest commented that by paying
these are recreational, such as visi-
tors being influenced by Deliverance
(John Boorman, 1972) to undertake
white-water rafting,32 fans seeking to
re-enact scenes from the Lord of the
Rings in New Zealand33 and aspiring
mountain riders undertaking organised
horseback adventure tours based on
The Man from Snowy River movies.
Following the film’s success, many lo-
cal cattlemen who had been drafted in
as ‘crack’ riders for the movie began
taking tourists out on adventure tours.
They promoted their trips as being in
The Man from Snowy River country
and often took on the characteristics
of the mountain men from the movie
and related tales of the stars.
Visitors, as well as the tours’ primarily
urban-based staff, also took on aspects
of the film by attempting to re-enact
scenes from the movie, thus ‘earn-
ing the right to be there’. As a guide, I
witnessed countless occasions where
3
guests attempted the famous downhill 1: Craig’s Hut,
near Mount
gallop at the centrepiece of the movie Stirling Victoria 2:
and poem. (This was not always a Experiencing The
Man from Snowy
joyous experience as the potential for
River 3: tour Guests
accidents was quite high, requiring the and staff
guides to develop similar experiences
in a safer environment.) In a discussion
as to why they paid to ‘work’ muster-
ing cattle and to undertake other tasks,
to experience the cattle musters in the
high country, she gained a ‘glimpse into
another world’ as seen in the movie.
Image 2 shows a group of guests re-
creating the concept of the mountain
cattleman through their attire, which is
not dissimilar to the use of costumes by
fans re-enacting the Lord of the Rings
movies in New Zealand.
Taking advantage of this desire to
re-create and ‘live’ the movie and to
be a part of this powerful element
of Australian heritage, most of these
tour operators recruited city-dwelling
Australians to assist on the tours in a
voluntary capacity, working as horse-
back guides, drivers and cooks. This
is how I initially became involved in the
tourism industry, guiding such tours
for five years and ultimately writing the
guidebook Beeton’s Guide to Adven-
ture Horse Riding (1994). Many of my
urban-based male co-workers worked
hard to perpetuate the image of the
tough mountain men portrayed in the
movies (far removed from their office
Metro Magazine 166 • 117
 Metro SPECIAL feature
jobs in the city), becoming more like
this image than the mountain cattle-
men themselves. As Image 3 shows,
it is virtually impossible to differentiate
between the guests, the operator and
the urban-based volunteers. In fact,
Jim’s love
the country-based operator and his
interest, rural staff are the only ones not wear-
after being ing the iconic akubra for the photo.
rescued from
The staff also related the stories (and
the dangers still do so today) of the movie’s film-
of the high ing, even if they were not personally
involved, pointing out where certain
country, also
scenes were shot, how they were done
says, ‘I can and relating some of humorous tales
see why you recounted to them by the cattlemen
who participated in the film. In some
love it here’.
cases it became difficult for the guest
Such is the to differentiate between a tale related
power of this via hearsay and one from genuine cast
or crew. The tourists’ thirst for such
landscape as
stories and experiences continues
a character over twenty years later, with the volun-
– it almost tary staff perpetuating the image and
emotion, despite the fact that most
kills her, yet
were young children or even babies in
she comes out the early 1980s.
of her ordeal
On a deeper, more reflexive autoethno­
loving the
graphical note, I found that I was not
landscape. simply playing a role through these
tours (whether as a guest or staff mem-
ber), but experienced deep emotional
responses to this legendary landscape.
The movie itself, while at times a
little trite, created a strong personal
response – my heart still quickens and
tears come to my eyes when I view the
film clip of ‘the ride’, which I have had
a number of occasions to do recently
when discussing my own journey in
film-induced tourism with those unfa-
miliar with the movie. Even in that short
clip, I see many international audi-
ences responding emotionally to the
story and the landscape with which it
is inextricably involved.
My first visit to the high country after
experiencing the movie verged on the
numinous – it was a powerful spiritual
experience that left me elated. For
me, the power of the movie was in its
relationship with the landscape, not so
much in the romantic story between
the lead characters. Even when review-
ing my old photos and journals for this
study, I was moved by the remembered
power of the high country, which for
118 • Metro Magazine 166
me had been created by both The Man
from Snowy River poem and movie.
Conclusion
Due to the lack of research linking
landscape, film and tourism, this
paper has been primarily exploratory,
looking at the current literature and
a brief case of film-induced tourism.
However, there is increasing sup-
port and evidence for the notion that
the activities of film-induced tour-
ists can be used as a lens through
which to better understand the role
of landscape in films. By studying the
activities of tourists attracted to an
area and their level of ‘re-enactment’
in the actual landscape, along with
examining personal responses through
autoethnography, we can understand
even more clearly which landscapes
become more than simple backdrops.
By considering tourist engagement
with the landscape, the role of that
landscape in the film can be seen and
further understood.
This article was refereed.
Sue Beeton is Associate Professor in
Tourism at the School of Management,
La Trobe University. Her publications
include Beeton’s Guide to Adventure
Horse Riding, Ecotourism: a practical
guide for rural communities and Commu-
nity Development Through Tourism and
Film-Induced Tourism. • How Does Film-Induced Tourism Affect a
Endnotes
1
Sue Beeton, ‘Rural Tourism in Australia –
has the gaze altered? Tracking Rural Images
Through Film and Tourism Promotion’
International Journal of Tourism Research
– Special Issue: Rural Tourism, no. 6, 2004,
pp.125–135; Sue Beeton, Film-Induced
Tourism, Channel View Publications,
Clevedon, 2005.
2
Graham Harper & Jonathan Rayner, ‘Introduc-
tion – Cinema and Landscape’, in Graham
Harper & Jonathan Rayner (eds), Cinema and
Landscape, Intellect, Bristol, p.21.
3
Sue Beeton, ‘From the Screen to the Field:
The Influence of Film on Tourism and
Recreation’, Tourism Recreation Research,
vol. 31, no.1, 2008, pp.39–47, p.40.
4
Sue Beeton, ‘Rural Tourism in Australia –
has the gaze altered? Tracking Rural Images
through Film and Tourism Promotion’, op.
cit., pp.125–135.
5
Ross Gibson, ‘Camera Natura – Landscape
in Australian Feature Films’, Framework, vol.
22, no. 3, 1983, pp.5–10, p.9.
6
ibid., p.5.
7
Tearlach Hutcheson, ‘Australian Cinema –
Searching for a National Identity’, Antipodes,
June 1996, pp.39–42, p.40.
8
Peter Hutchings, ‘Uncanny Landscapes in
British Film and Television’, Visual Culture in
Britain, vol. 5, no. 2, 2004, pp.27–40.
9
J.A. Wainwright, ‘Desolation Angels –
World and Earth in Picnic at Hanging Rock’,
Antipodes, December 1996, pp.121–123.
10
Department of Communications, Information
Technology and the Arts (DCITA), National
Tourism Strategy, Canberra, 2003, p.24.
11
Colin Hall, Introduction to Tourism in
Australia: Development, Dimensions and
Issues, 5th edn, Longman, Melbourne, 2007.
12
Emma Widdis, ‘“One Foot in the Air?”
Landscape in the Soviet and Russian Road
Movie’, in Graham Harper & Jonathan
Rayner (eds), op. cit., pp.73–88.
13
Tom Gunning, ‘Landscape and the Fantasy
of Moving Pictures: Early Cinema’s Phantom
Rides’, in Graham Harper & Jonathan
Rayner (eds), op. cit., p.21.
14
William D. Routt, ‘More Australian than
Aristoteleian: The Australian Bushranger
Film’, 1904–1914, Senses of Cinema, no.
18, December 2001.
15
Gibson, op. cit., p.5.
16
Bob Britton, ‘Landscaping the Revolution:
The Political and Social Geography of Cuba
Reflected in its Cinema’, in Graham Harper &
Jonathan Rayner (eds), op. cit., pp.177–188.
17
Sue Beeton, ‘Lights, Camera, Re-action:
Country Town?’, in M.F. Rogers & Y.M.J.
Collins (eds), The Future of Australia’s
Country Towns, Centre for Sustainable
Regional Communities, La Trobe University,
Bendigo, 2004, pp.172–183; W. Glen
Croy & Reid D. Walker, ‘Rural Tourism
and Film – Issues for Strategic Regional
Development’, in Derek Hall, Lesley Roberts
& Morag Mitchell (eds), New Directions in
Rural Tourism, Ashgate Publishing Limited,
England, 2003; Simon Hudson & J.R. Brent
Ritchie, ‘Promoting Destinations via Film
Tourism: An Empirical Identification of
Supporting Marketing Initiatives’, Journal of
Travel Research, vol. 44, 1996, pp.387–396;
Sue Beeton, ‘Understanding Film-Induced
Tourism’, Tourism Analysis, vol. 11, no. 3,
2006, pp.181–188; Yu-Shan Lin & Jun-Ying
Huang, ‘Analyzing the Use of TV Miniseries
for Korea Tourism Marketing’, Journal of
Travel & Tourism Marketing, vol. 24, no.
2–3, 2008, pp.223–227.
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18
Sue Beeton, ‘Understanding Film-Induced
Tourism’, op. cit.
19
Jonathan Rayner, ‘Battlefields of Vision: New
Zealand Filmscapes’, in Graham Harper &
Jonathan Rayner (eds), op. cit., p.266.
20
Tourism Australia, ‘New Campaign Attracts
Record Number of Commercial Partners’,
media release, 12 March 2009; Tourism
Australia, ‘The Campaign So Far’, <http://
www.tourism.australia.com/Marketing.
asp?sub=0413&al=3239>, accessed July
2009.
21
Sue Beeton, ‘Why Film? Why Now? Tourism
Australia’s Changing Perspectives: A Case
Study of Australian Film-Induced Tourism’,
CAUTHE 2009 Conference Proceedings,
See Change: Tourism and Hospitality in a
Dynamic World, February 2009.
22
Sue Turnbull, ‘Imaging the Audience’, in
Stuart Cunningham & Graeme Turner (eds),
Media and Communication in Australia,
Allen & Unwin, Sydney, 2009, pp.65–78.
23
Umberto Eco, Travels in Hyperreality,
Harcourt Brace & Co., Florida, 1986.
24
John Urry, The Tourist Gaze, 2nd edn,
Routledge, London, 2002.
25
ibid.
26
Sue Turnbull, op. cit.
27
Jane Elliot, Using Narrative in Social
Research, Qualitative and Quantitative
Approaches, Sage Publications, London,
2005.
28
Carolyn Ellis, ‘Evocative Autoethnography:
Writing Emotionally About our Lives’, in
William Tierney & Yvonna Lincoln (eds),
Representation and the Text: Re-Framing
the Narrative Voice, State University of New
York Press, New York, 1997, pp.115–141.
29
Sue Beeton, ‘From the Screen to the
Field: the influence of film on tourism and
recreation’, op. cit.; C. Ellis & A. Bochner,
‘Autoethnography, Personal Narrative,
Reflexivity: Researcher as Subject’, in
Norman Denzin & Yvonna Lincoln (eds.),
Handbook of Qualitative Research, 2nd
edn, Sage, London, 2000, pp.733–768;
Christiane K. Alsop, ‘Home and Away:
Self-reflexive Auto-/Ethnography’, Forum:
Qualitative Social Research, vol. 3, no. 3,
2002, <http://www.qualitative-research.
net/fqs/fqs-eng.htm>, accessed 20
October 2007; William Feighery, ‘Reflexivity
and Tourism Research: Telling An (Other)
Story’, Current Issues in Tourism, vol. 9,
no. 6, 2006, pp.269–282; Chaim Noy, ‘The
Language(s) of the Tourist Experience: An
Autoethnography of the Poetic Tourist’,
in Irena Ateljevic, Annette Pritchard &
Nigel Morgan (eds), The Critical Turn in
Tourism Studies: Innovative Research
Methodologies, Irena, 2007.
30
Sue Beeton, ‘From the Screen to the
Field: the influence of film on tourism and
recreation’, op. cit., p. 42.
31
Chris Ryan, ‘Ethics in Tourism Research:
Objectives and Personal Perspectives’,
in Brent Ritchie, Peter Burns & Cathy
Palmer (eds), Tourism Research Methods:
Integrating Theory and Practice, CAB
International, 2005, pp. 9–20.
32
Sue Beeton, Film-Induced Tourism, op. cit.
33
Anne Buchmann, ‘“Show me the reel
world”: Negotiating Reality and Myth in
Film Tourism’, in K. Chon & A. Chan (eds),
International Conference on the Impact of
Movies and Television on Tourism, Hong
Kong Polytechnic University, Hong Kong,
2009, pp.101–111.

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