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Three recent Australian films—The Goddess of 1967 (2000), Japanese Story (2003), and Bondi Tsunami (2004)—have narratives of dislocation, both personal and physical (almost inevitable, given the obvious common feature of Japanese in Australia), and of diverse desires set in iconic landscapes at once both alluring and alienating. The three narratives share the road as a metaphor of both departure and arrival, as well as that of a journey offering not only deeper self-knowledge but also an experience of journeying automotively through the Australian landscape. Here, then, is where the personal landscape meets that of tourism, as each journey is also a search of sorts. Although the touristic nature of the imagery may be incidental to the narrative action, it nevertheless emphasizes how the elemental qualities of the landscape may echo the inner personal landscapes and journeys of the characters. Tacey's book Edge of the Sacred (1995) is used to provide both inspiration and a framework for the discussion.
Tourism Review International is a peer-reviewed journal that advances excellence in all fields of tourism research, promotes high-level tourism knowledge, and nourishes cultural awareness in all sectors of the tourism industry by integrating industry and academic perspectives. Its international and interdisciplinary nature ensures that the needs of those interested in tourism are served by documenting industry practices, discussing tourism management and planning issues, providing a forum for primary research and critical examinations of previous research, and by chronicling changing tourism patterns and trends at the local, regional and global scale.