tysberg,Gods and Generals and Cold Mountain; and visits tocastles and historic landscapes encouraged by medievalepics such as Braveheart and A Knight’s Tale.However, analysis of the impacts of historic films ondestination image and tourism has been limited. Sargentcoined the term The Darcy Effect to describe theincrease in visitation to historic homes featured inBBC historical dramas, such as Pride and Prejudice(1998, pp. 181–182). In contrast, Winter (2002) notedthe tensions between the image created by Tomb Raiderand the heritage values of one of its main locations inthe temple of Angkor Wat. Croy and Walker (2003)
reported on the success of Braveheart in promoting
Stirling in Scotland, as well as listing a number of other
historic films which have raised tourist numbers.
This limited literature suggests that tourism generatedby historic films raises two issues which do notnecessarily arise from other types of films. The first isthat historic films may generate a specific type of
tourism—heritage tourism—based on visiting historicsites. It is important to understand that in these cases,tourists are responding to a destination image based onthe heritage and historical associations of a place ratherthan its scenic attributes. Indeed historic films maystimulate visitations to places that have little currentvisual relationship to what was viewed in the film.Second, historic films present already known andestablished stories, and tourists’ knowledge and expectationsmay be influenced by other sources, such ashistory books. Generally, a filmmaker may invent whatthey want in terms of characters and stories. However,historic films are constrained by the existing historic
knowledge of the audience. As such, there may be issues
of authenticity, both for the film and tourism operators
in the associated destination.This article considers these issues by focussing on thecase of a recent historic film, Ned Kelly (2003). It tellsthe story of the famous Australian bushranger (outlaw),arguably Australia’s greatest cultural icon and ‘theclosest thing Australia has to a national hero’ (Seal,1996, p. 145). This film is of significance because it tellsan already well-known (and filmed) story and was
predicted to increase tourism to related destinations(Fawcett, 2003; Morley, 2003; Shrimpton, 2003; TourismVictoria, 2003). It is also an appropriate subject, inthat despite Ned Kelly being an established tourismattraction, there has been no previous tourism academicstudy undertaken (though a forthcoming work byBeeton considers rural destination images in Australiain the context of Ned Kelly films).In analysing the role of Ned Kelly in contributing tothe development of a destination image based onhistory, this article is divided into four sections. Thefirst discusses some of the literature on how historic
films may affect interpretations and images of history.The second examines issues of authenticity. The recentfilm presents a particular version of the Kelly story.How does that relate to other versions and theexperiences actually on offer for tourists? The thirdsection considers how international tourists might beattracted by the film. It is argued that the story of NedKelly has a universal appeal with themes of persecutionand rebellion understandable to international visitors.
The fourth section considers how the film was used toattract domestic tourists, particularly in relation toexisting attractions and marketing strategies
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