澳洲广播电台第一集：寄自“南方大陆”的明信片(页 1) - 澳洲留学移民 - 澳大利亚广播电台 -
2006-8-7 01:57
城市童话
澳洲广播电台第一集：寄自“南方大陆”的明信片
这是一个共有13集的澳洲广播电台系列节目，苏·斯拉梅 (Sue Slamen)主持并制作，技术制作：赖安·厄甘 (Ryan Egan).
该系列节目将向您介绍澳大利亚生活的方方面面--澳大利亚人所从事的工作、生活的家园和休闲方式；为您解读他们赖以生存的环境、管理国家的政治体制以及他们是如何待人处事以及在本地区发展睦邻友好关系的。
第一集：寄自“南方大陆”的明信片
对从未到过澳大利亚的人来说，这个国家是什么样子呢？哦，也许就是广告中说的那样吧。这一期节目将探讨由旅游业所塑造的澳大利亚的诸多形象，并揭示这些形象是如何吸引游客，又是如何帮助要来澳洲的游客了解或误读澳大利亚的。
[color=Red]详细内容请看二,三,四楼.[/color]
这是一个共有13集的澳洲广播电台系列节目，苏·斯拉梅 (Sue Slamen)主持并制作，技术制作：赖安·厄甘 (Ryan Egan).
该系列节目将向您介绍澳大利亚生活的方方面面--澳大利亚人所从事的工作、生活的家园和休闲方式；为您解读他们赖以生存的环境、管理国家的政治体制以及他们是如何待人处事以及在本地区发展睦邻友好关系的。
第一集：寄自“南方大陆”的明信片
对从未到过澳大利亚的人来说，这个国家是什么样子呢？哦，也许就是广告中说的那样吧。这一期节目将探讨由旅游业所塑造的澳大利亚的诸多形象，并揭示这些形象是如何吸引游客，又是如何帮助要来澳洲的游客了解或误读澳大利亚的。
[color=Red]详细内容请看二,三,四楼.[/color]
2006-8-7 02:01
城市童话
[color=Red]中文详细内容[/color]
[quote]
苏·斯拉梅（Sue Slamen）：
大家好，我是澳洲广播电台的苏·斯拉梅。就像“上班族”这支蜚声国际的澳洲乐队把一曲“南方大陆”推向世界一样，我们也要带给您一个全新的栏目“今日澳洲”（Australia Now），欢迎您收听我们的节目， 同我们一起探索发现这片南方大陆。
在这个系列节目中，您将了解到如今澳大利亚人的工作学习情况、生活方式和政治生活。
那么在人们的心目中，澳大利亚究竟是什么样的呢？
旅游业的广告宣传在很大的程度上引导和影响了人们对澳大利亚的看法，因此我们也将这个节目称为“寄自南方大陆的明信片”（POSTCARD FROM DOWN UNDER）。
澳大利亚是旅游目的地--我们要像推销所有其它品牌产品一样将澳大利亚推向世界。
杰夫·贾维斯（Jeff Jarvis）：
澳大利亚这一品牌的真正精髓在于澳大利亚人所说的与生俱来的自由精神，突出展示了澳大利亚是一个年轻、充满活力的旅游目的地：新事物层出不穷，让你可以有所作为。各国游客来到澳大利亚，体验真正的澳大利亚生活。他们会发现，与欧洲、亚洲或美国的生活相比，自由在澳大利亚生活中是十分重要的。
苏·斯拉梅：
杰夫·贾维斯一直从事旅游市场开发工作，目前担任墨尔本莫纳什大学旅游专业研究生课程的负责人。我采访了杰夫，问他吸引海外游客来澳大利亚最有效的宣传活动是什么。
杰夫·贾维斯：
我首先想到的当然就是保罗·霍根（Paul Hogan）的系列宣传片。
苏·斯拉梅：
杰夫，我得打断你一下，因为有些人不知道保罗·霍根是谁或者根本没有看过他演的那些著名的电影和他所扮演的那些角色。其实，我们真地觉得这些表现澳大利亚人滑稽可笑的形象都很老套。能否请你先介绍一下保罗·霍根和他的宣传片呢？
杰夫·贾维斯：
保罗·霍根真是一个不同凡响的人。其实他以前只是悉尼港湾大桥的一个油漆工。
苏·斯拉梅：
在现实生活中，他以前就是干这行的。在澳大利亚，如果做一件事要花很长时间，我们就开玩笑说这是在给悉尼港湾大桥刷油漆呢。你刚油漆完整个大桥，就得回到桥头，又重新开始刷。
杰夫·贾维斯：
是啊，在他的表演天才被发现之前，他干的就是这行。之后他制作了一个电视节目，这个节目在澳大利亚十分成功。我觉得我们很幸运，因为在八十年代初期我们能够由保罗·霍根来制作系列宣传片，成功地在海外对澳大利亚进行了宣传，这就是有名的“烧烤虾”（shrimp on the barbie）系列片。这是第一批电视广告系列片，被收录到了世界广告名片录中。
（插播保罗·霍根的宣传片）
保罗·霍根：
我这里还有几点要提醒你--首先，你的衣服会被打湿，因为澳洲四周环水。而且你还要学会在和人打招呼时说“天儿真好”，因为在澳大利亚，每天都是好天气，所以你要说“保罗，天儿真好啊”，“亲爱的，天儿真好”，等等。当然，你还得习惯当地的一些风俗，比如在餐厅里晒太阳浴，玩橄榄球时不带头盔，还有把所有的人都叫成"伙计"，“谢谢你，伙计”，“她是个不错的伙计”。除了这些，就像澳大利亚人常说的“别担心”，你会在澳大利亚度过你一生之中最美妙的时光。我们和你们讲的当然是同一种语言，不过，你们这些人的口音有点怪。在你迫不及待赶去预定澳大利亚之旅之前，请先拨打这个免费电话，你可以得到一本免费的澳大利亚度假指南。快来吧，到澳洲来，学会说“天儿真好”吧，我这就在烧烤上为你多加上一只虾。
苏·斯拉梅：
保罗·霍根邀请人们来一同品尝烧烤虾，充分表现了澳大利亚人对户外生活的热爱。他们可以在自家花园里、海滩上或者是遥远的乡村野外，也就是他们称作为“内陆”的地方，做出一顿丰盛大餐。
保罗·霍根还在两部在世界各地上映的电影中，扮演了一个澳大利亚内陆捕鳄者的喜剧角色。另外，还有一部电视连续剧“飞行医生”（The Flying Doctors），讲述了一群医生常年乘飞机长途跋涉，到边远地区为病人出诊的故事。这些电影和电视片都表现了澳大利亚内陆的生活。
杰夫·贾维斯：
当然，澳大利亚的海外形象，特别是在美国的形象，一直受流行文化影响。我最近在斯堪的那维亚地区的国家做了一项研究，在那里，流行文化也是塑造澳大利亚形象的主要因素之一。说来你可能都不信，咱们这儿八、九十年代讲皇家飞行医疗服务的电视连续剧“飞行医生”，现在瑞典还在每天播放呢。瑞典人眼里的澳大利亚也和电视里的形象密切相关。流行文化在开拓市场方面很重要，在美国和英国市场尤其重要，这样看来保罗·霍根对在美国推广澳大利亚形象贡献不小。
苏·斯拉梅：
哎，我也曾经打算做一些这方面的调查--因为莫纳什大学有大概六千名海外留学生和三百名交流学生，他们不管在这儿学习一个学期还是一年，都会在学校放假时到处游玩。我采访了丹麦来的马丁·亚历山大和瑞典来的迈克·施特贝尔，问问他们来这里之前对澳大利亚有多少了解。
马丁·亚历山大：
我还真对澳大利亚有一些了解。大约在十年前吧，我去新西兰作过交流学生。新西兰和澳大利亚联系密切，所以我对澳大利亚就有了不少了解。从那时开始，我就一直想来这里多呆些时候。
苏·斯拉梅：
所以你就很毫不犹豫地决定回来，对吧。你能否给我们讲讲你刚到这儿时的经历，也跟我们说说是什么让你又回到了这里？
马丁·亚历山大：
我觉得澳大利亚是个非常了不起的国家。比如说这里的人都特别友好，但好像人们不太……噢，不不不，我不能这么说……
苏·斯拉梅：
嗨，不用这样，你怎么想就怎么说吧。在这儿，人们想说什么就说什么，都很随便。
马丁·亚历山大：
对，我想说的就是这个。这儿的人都很自由自在无拘无束，心地善良，特别乐于助人。在澳大利亚跟不认识的人交谈和相处特别容易。澳大利亚人好像都很开朗，对外国人很感兴趣，想知道他们都做什么工作，为什么来这儿。
苏·斯拉梅：
这可能是因为我们与世界各地的距离都太远了吧。你呢，迈克，你来这儿读书之前了解澳大利亚吗？
迈克·施特贝尔：
我对澳大利亚的了解没那么多，也就是在电视上看到的那些。除了和体育有关的，就只能看到“飞行医生”或者“鳄鱼猎手”（Crocodile Hunter）这样的电视剧。所以，我先对澳大利亚进行了一些了解，才最终决定来这儿的。我有几个朋友以前来过澳洲，他们都极力建议我来这儿。经常听人说澳大利亚人非常友好，虽然这有点儿以偏概全，但却符合实际情况。澳大利亚人确实特别友好、特别健谈，所以很容易和澳大利亚人攀谈起来。有时候还不得不打断他们，要不他们会一直说下去。但是对北欧人来说，总觉得跟陌生人说话很别扭，可我很喜欢同澳大利亚人聊天。我想到这里来的人都会和我一样喜欢和澳大利亚人聊天。当你来到墨尔本，你会觉得从某种意义上讲，墨尔本和欧洲很像。可转过某个街角，你又会突然觉得是在亚洲。这里的文化是多元化的，可能比我设想的更加丰富。真的很难说墨尔本到底是什么样的，每种文化在这里都同时得到了展现。
马丁·亚历山大：
确实是这样。要是我在晚上被绑架到墨尔本，如果有人问我在什么地方，我真的不敢肯定我能不能说出我在哪儿。因为墨尔本确实有些像欧洲，但又有很多美国的东西，可是欧洲也有这些东西啊。这里的文化却极为多元化，这确实令人费解。但我最没想到的还是天气。我一直以为澳大利亚全国各地都很暖和，甚至很炎热，还盼着到这儿来过一个长长的夏天呢。可现在我发现其实澳大利亚现在比丹麦冷多啦。这我可不怎么喜欢……（笑）
苏·斯拉梅：
电视节目、电影以及大获成功的保罗·霍根，为澳大利亚旅游委员会制作的宣传片大多都宣传一些与南半球这片土地相联系的种种传统形象--如地处“阳光澳大利亚”（Sunny Australia）腹地的干涸的红土地和镶嵌在国土四周那蜿蜒千里的金色海滩。这些正是来自加利福尼亚的学生切里斯·汤和其他来到澳洲的游客所期望看到的。
切里斯·汤：
澳大利亚在新闻报道中很少被提及，但却在媒体宣传中频频出现。我在传媒课上曾经就这个现象写过一篇论文。我想老师可能不太喜欢我的文章，因为我谈的基本上是自己对澳大利亚的印象。老师是澳大利亚人，我想她不会喜欢这种文章。
休·斯拉梅：
那现在就跟大家谈谈你当初的印象吧。
切里斯·汤：
在文章开头我谈到了“谍中谍II”（Mission Impossible II）中的几个场景。电影一开始就是袋鼠在澳大利亚内陆荒漠上奔跑的场面，然后男主人公出现了。他一会儿乘摩托艇破浪前进，一会儿又上了直升飞机。这些都是典型的澳大利亚形象，也是我想象中的澳大利亚。 这个电影上映时是在我决定来澳洲的前一年。当时我想，这就是我要去的地方，这就是我想去的地方。然后我写道， 我来了，我还要看袋鼠。我想这儿没有熊，但总该有袋鼠吧。可我一直等到在一个自然保护区里露营时，才终于看到了袋鼠。所以我在文章里说自己当时有多么的失望， 还讲到媒体是如何影响了我们对事物的看法，因为你知道，我要介绍媒体的功能与作用，所以我就用这件事做例子。我所看到的袋鼠没有在澳大利亚内陆荒漠四处奔跑。 要是我没弄错的话， 我敢肯定在澳大利亚的中部会有很多袋鼠，但在墨尔本可不是这样。
苏·斯拉梅：
你的同乡比尔·布赖森（Bill Bryson）写了一本畅销书，名为《日光炙烤的国度》（In A Sunburned Country）。他本以为会在澳大利亚与南加利福尼亚之间发现一些相似之处。
比尔·布赖森：
我清晰的记得自己刚到墨尔本时，站在柯林斯大街上的情景：那时我刚刚到这儿，身上还散发着飞机降落前空中小姐喷洒的杀虫剂的气味，喷雾的飞沫也许还在我身上点点发亮。看着满街叮当作响的有轨电车和熙熙攘攘的人流，我对自己说：“天哪，这儿是一个新国家。”我仿佛独自一人在另一个星球或另一个宇宙里发现了生命，而这儿的生活既是如此相似又是那么完全不同。那种兴奋真是无法用语言表达。
如果说我当时对澳大利亚怀有任何先入为主的看法的话，那就是我以为澳大利亚是另一个南加州，总是阳光明媚，过着欢快、活泼的海滩生活。那时，澳大利亚在我看来是一个既有美国“海滩救护队”（Baywatch）式的生活方式又崇尚打英式板球的国家。但事实远非如此。墨尔本安逸而优雅的氛围较之北美似乎更带着几分欧洲气息。而且当时下着雨，整整一周阴雨连绵。 让我喜出望外的是这与我的想象的完全不同，这也是最重要的，使我一下子就毫不犹豫地喜欢上这儿了，这是我没有想到的。这儿好像有什么东西非常合我的脾气，我想这也许是因为我的一生中一半是在美国，另一半是在英国度过的， 而澳大利亚正是这两者的怡人的结合， 它把典型的美国式随意与轻快构建在了英国式的框架之上。澳大利亚人乐天、随便，乍一看上去仿佛就是美国人。但他们的汽车靠左行驶；他们喝茶、打板球；他们用维多利亚女王的雕像装点公共场所；他们让孩子穿着只有英国人才肯穿的老式校服。我对这一切都毫不感到别扭。 我几乎马上便强烈地意识到我对这里知之甚少，而很奇怪的是，我很高兴地意识到我的无知。 我不知道澳大利亚报纸、海滩、大学和市郊的名字，我对澳大利亚历史和这个国家特有的成就一无所知，我甚至分不清警察和邮递员。可从那时起我就一直喜欢澳大利亚人的说话的声音，那种轻快活泼的节奏，抑扬顿挫的声调，那种不刻意的、淳朴而直接的观察世界的方式。
我曾经在澳大利亚参加了一个小奖项的颁奖典礼，好像是什么"东吉普斯兰青年农民小说处女作奖"。我去参加的原因是，能接到任何一份邀请都足已让我兴高采烈，再加上还有鸡尾酒宴可以享用。当时我正和出版公司的两位女士站在一起，某位自以为是的“大人物”忽然飘然而至。“哦，看哪，是布鲁斯·达兹林！”她们中的一个说道。接着她冷淡，带着鄙夷而又言简意赅地补充道：“他连开信封都当成仪式出席！”有人还给我讲过他的一个英国朋友的故事。这位朋友乘飞机来澳大利亚，途中空中小姐夹给他一个热毛巾，但用的时候却发现是凉的。于是他告诉空中小姐毛巾不够热，他不是想抱怨，只是觉得空中小姐也许会把毛巾再加热一下。空中小姐转过身来，带着甜美的笑容和那么一丁点儿的讽刺回答道："那您为什么不坐在毛巾上，那样准能把它弄热。" 从听到故事的那一刻起，我就知道自己一定会喜欢这个地方，直到现在一想起这个故事，我还是忍不住大笑。
苏·斯拉梅：
比尔·布赖森写了一本有关澳洲的书，十分有趣，名叫《日光炙烤的国度》。比尔对他在澳洲东南端的全国第二大城市墨尔本所看到的一切都感到惊讶，也许是因为墨尔本不像其北方的劲敌悉尼那样频频出现于旅游宣传之中。切里斯·汤刚到维多利亚州的墨尔本学习时，她有点失望，因为那里并没有她所期望的那种“阳光澳大利亚”的海滨生活方式。
切里斯·汤：
我到了维多利亚州，可你知道维多利亚州，特别是墨尔本，在我们的国内媒体上根本没有报道。我觉得墨尔本是个很英国化的城市，而在我们国家的媒体上根本没有这方面的报道。我们看到的大多都是诸如海滨城市之类的介绍。
戴维·邓斯坦（David Dunstan）：
嗯，我觉得外国人愿意相信简单化的澳大利亚的印象，这并不是件坏事。我认为这完全是意料之中的。人们对其他国家、社会和文化都会有很简单化的印象，比如对苏格兰人的印象就是他们的褶裥短裙和城堡。因此无论树立哪种形象，只要能吸引游人就行。当然，我希望游客能平均地分散到澳洲各地，而不是集中在一些主要的旅游地。我真觉得很遗憾，他们的观光活动大多被局限于悉尼或黄金海岸那些相当小的城市地区。
苏·斯拉梅：
戴维·邓斯坦是莫纳什大学旅游与澳大利亚研究专业的高级讲师。
戴维·邓斯坦：
澳大利亚并不仅仅是英美融合的产物，它自己本身就是一个全新的社会。我想，来澳洲的人大多都带来了以前生活环境的特征，来源地的文化和生活方式，但是他们也常常拒绝这些文化。其实澳大利亚的民族性格的许多方面都体现了反英国影响的心理，但很多人却没有认识到这一点。十九世纪和二十世纪来澳大利亚的人都厌恶等级制度，厌恶约束性的社会。就像我们今天所看到的，在澳大利亚人的心理特征中就包含了许多这样的品质。同样，我们在近年来的新移民中也发现了许多类似的特征。如果你回顾四十多年来墨尔本的特征的变化，你会发现从地理分布和文化的角度来看，意大利人、希腊人、土耳其人，尤其是近年来的越南人，对墨尔本市一些街区所产生的影响。而且，他们的贡献是令人惊叹的。我认为所有的墨尔本人以及所有来这里的人都从中受益非浅。
苏·斯拉梅：
大多数来澳洲的海外游客，都要花时间和金钱享受悉尼的海滩文化，或者是再向北走，去享受位于阳光之州昆士兰的黄金海岸的海滩文化。然而，那些南下墨尔本的人却享受到了包容多元文化、超越民族界限的大都市生活。
来自香港的研究生阿比·李到墨尔本来是为了进一步研究这个城市的历史，其中包括探寻自19世纪中期淘金热以来墨尔本与中国的关系史。
阿比·李：
我觉得我和多数游客不一样，我更感兴趣的是了解一个最初由所谓的罪犯组成的国家是如何发展成为当今世界大国之一的。所以，我想了解这其中发生了什么变化、什么促使了这些变化的发生。因为，嗯，特别是中国人，我们真的不是爱玩的人，我们感兴趣的不是海滩、阳光或日光浴。我们更关心的是文化，也许还有历史，还有这里的华人史，毕竟这里从淘金热开始就有中国人了。如果你在澳大利亚没有亲人或朋友，你可能就不会知道在澳大利亚有这么多的中国人。
苏·斯拉梅：
在墨尔本逗留期间，你想发现和参观一些什么呢？
阿比·李：
我想去看一些美术馆，还有去参观几个不错的博物馆。我觉得香港是一个做生意的地方，一个纯粹的商业城市。但和墨尔本比起来，香港的城市发展更全面。况且，这儿的人也不太一样。
苏·斯拉梅：
那我们的旅游宣传为什么没有从各个方面展现澳大利亚的多样性呢？
接下来我们再来听听旅游业研究人员杰夫·贾维斯的观点吧。
杰夫·贾维斯：
在这个问题上，我们需要考虑的一点就是，澳大利亚人希望自己的国家在海外应该以什么样的形象出现。我们生活在澳大利亚，知道澳大利亚是一个多种族、多元文化的国家。澳大利亚不仅仅是悉尼歌剧院、大堡礁和艾尔斯岩石，还有许多不同的侧面。我们比海外宣传的形象更加丰富和多元化。但有一点是我们需要记住的，那就是，我们在国际旅游市场中总要与世界上其它国家竞争，因此我们需要展现澳大利亚的与众不同之处。如果我们去欧洲市场宣传我们的多元文化或宣传墨尔本的艺术节，英国人会说，我为什么要千里迢迢坐飞机到澳大利亚去呢？我可以去维也纳，或者去布拉格，都能获得相似的艺术体验。因此，我们需要重点宣传我们的突出特点，也就是与其他国家的不同之处。为此我们仍要借助于人们心目中那些澳大利亚的传统形象。有些人认为这些传统形象现在都已经过时了。但从某种程度上来说，这些东西仍然存在。
苏·斯拉梅：
你是指诸如生活在澳大利亚内陆辽阔的红色平原上头戴宽边帽典型的丛林人形象。他们已经成为以罗素·德莱斯戴尔（Russel Drysdale）为代表的澳大利亚画家的一个创作主题，而且我们还经常把这些形象印到茶巾等纪念品上面，已经成为澳洲人的典型形象了。但我们，或者说生活在城市里的大多数人都认为，游客来澳大利亚也是要看一看我们是如何生活的。
杰夫·贾维斯：
你说的完全正确。澳大利亚人向来都迷恋乡村和丛林。我们还有许许多多来自于丛林的传奇人物，比如奈特·凯利（Ned Kelly）就是这样的例子。我们一直把这个丛林土匪几乎当成英雄了。因此，我们现在做的就是把这些东西推向国际旅游市场供宣传之用。
苏·斯拉梅：
莫纳什大学旅游专业教师戴维·邓斯坦先生却希望我们的海外旅游宣传能突破那些由“阳光澳大利亚”派生出的传统形象，开拓一个与“文化旅游业”相适应的市场。
杰夫·贾维斯：
我们总是习惯于把游客当成一种单一的商品或他们都同属某一类人。其实他们不是这样的。形形色色的游客，他们年龄各异，怀着不同的旅游目的，有着不同的背景。我们那些技艺高超的marketing人员都非常清楚，我们可以用一系列不同的旅游形象来吸引或吓跑游客，而且他们在这方面很有一套。但我认为，我们同时还需要意识到，与“旅游文化”并存的还有各种“旅行文化”。人们旅行时采用不同的方式，带着不同的想法，并且还有不同的目的。我们还没有开发出我们真正需要的文化旅游业来丰富我们的民族文化，增强我们的文化内涵，我们过多的宣传了一种由阳光、冲浪、沙滩和性观光业为特点的旅游业。这些担忧不无道理，我们应反思澳大利亚旅游业和旅游政策，思考如何对旅游业进行调整改进。我想，随着澳大利亚民族逐渐走向成熟，超越那种保罗·霍根“烧烤虾”式的旅游模式，我们将制定出更加成熟完善的旅游规划。
苏·斯拉梅：
如果说来自北半球的游客受到了流行文化的影响，受到他们所看的电视节目和电影的影响，那么，对于像印度尼西亚的亚辛塔·库尔尼和安妮·巴克·瓦尔达尼这样的来自东南亚的游客来说，她们对澳大利亚的了解仅限于在学校所学的东西。
亚辛特·库尔尼：
我们对澳大利亚的了解就是，那是一个很大的国家，标志性的动物是袋鼠，当然还知道当地居民是澳大利亚原住民，还有澳大利亚是一个西方国家，从电视上看到的，所有的节目，政治和所有一切都是白人占主导地位。所以那时我对澳大利亚的印象是，那是一个离我非常遥远的国家。我根本没想到原来我们离得这么近！
苏·斯拉梅：
你呢，安妮，你对澳大利亚最初的印象是什么呢？
安妮·巴克·瓦尔达尼：
实际上，来这儿之前，我对澳大利亚几乎没什么了解。我的一个太祖父曾是印度尼西亚驻堪培拉的文化专员。回印尼时，他带了好多介绍澳大利亚和南太平洋地区国家的书。 后来，他把其中一本当作礼物送给我。直到那个时侯，我才惊奇的发现，原来澳大利亚离印度尼西亚这么近！可以前我却以为我们相距很远。我原以为在澳大利亚只有白人居住。事实并非如此。那本书中讲到了原住民，我才知道澳大利亚不仅仅只有白人住在那里。
莱内特·罗素：
澳洲中部地区无疑就像一幅巨大的风景画，景色壮观，绚丽无比。不过，让我疑惑不解的是，广告宣传总是把这里描绘成一个亘古永存的地方，让大家都来体验这里有着六万年悠久历史的文化。这一类的话，在我看来，就像听十九世纪时人们谈起原住民一样，说原住民是古老的石器时代的原始人类，是现代人的祖先。
苏·斯拉梅：
莱内特·罗素现任莫纳什大学原住民文化研究中心的主任。
莱内特·罗素除了关注旅游宣传中常用的那些传统型形象，还着重指出这种大众旅游业对传统文化的负面影响。她举了迪吉里杜管（didjeridoo）为例。迪吉里杜管是一种用空心树干做成的传统乐器，和捕猎工具“飞去来器”（boomerang）一样，都是澳大利亚中部地区原住民特有的器具。现在，由于过多地把这些东西当作澳大利亚原住民文化的标识，游客们不论到哪儿都希望看到迪吉里杜管和“飞去来器”。
（插播有关澳大利亚中部地区的旅游广告……）
莱内特·罗素：
现在人们常常把只是某些地区特有的东西当成是整个澳大利亚原住民文化的精髓和特色。比如，“飞去来器”只有澳大利亚中部地区的原住民才使用。迪吉里杜管也只有澳大利亚北部和中部地区的原住民才用，从来不是澳大利亚东南部地区原住民文化的组成部分。现在，尽管迪吉里杜管根本不是某些地区的传统乐器，但是各个地区在展现原住民文化的表演中却经常使用迪吉里杜管，还制作成当地的旅游工艺品，等等。
苏·斯拉梅：
我觉得是许多澳大利亚人可能都不会意识到这一点的。那就是，旅游广告中塑造的澳大利亚形象在我们国内具有的影响力，和在国外的影响力一样大，是这样的吗？
莱内特·罗素：
完全正确。比如，我们一提起旅游艺术，人人都会想到澳大利亚中部地区的普普尼亚艺术传统，都期待看到“圆点画”。有趣的是，当人们来到格拉姆彼恩斯和格里威尔德国家公园，看到传统的维多利亚地区原住民岩画时，通常都很失望。因为他们期待看到的东西根本就不在那儿，也根本就不是这个地区的传统文化。我们最经常听到的评论就是，“这是真正的岩画吗？”“这看上去并不像原住民艺术。”在谈到澳洲中部时，人们总是依赖他们在旅游宣传片中学到的知识。
苏·斯拉梅：
谢谢莱内特·罗素女士，莫纳什大学原住民文化研究中心的主任。
下期节目中，我们将一起来关注一下澳大利亚是如何在2000年悉尼奥运会上向全世界展示自己的形象的，其中包括所传递出的与原住民寻求和解的信息。
[插播 凯茜·弗里曼（Cathy Freeman）获得在2000年悉尼奥运会上获得金牌时澳大利亚广播公司的现场直播录音]
“观众们一致支持选择原住民短跑冠军凯茜·弗里曼点燃奥运圣火。当瀑布从北看台飞泻而下，凯茜·弗里曼点燃了水中的圣火台。尽管这一辉煌时刻延迟了几分钟，但圣火台最终徐徐升到了露天体育场顶端的位置。"
苏·斯拉梅：
我是苏·斯拉梅，这里是澳大利亚广播电台，我们期待您的参与。下次节目“瞭望大看台” 我们再见……
最后，衷心感谢墨尔本莫纳什大学全国澳大利亚研究中心给予的学术指导，感谢赖安·厄甘提供的技术制作。
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苏·斯拉梅（Sue Slamen）：
大家好，我是澳洲广播电台的苏·斯拉梅。就像“上班族”这支蜚声国际的澳洲乐队把一曲“南方大陆”推向世界一样，我们也要带给您一个全新的栏目“今日澳洲”（Australia Now），欢迎您收听我们的节目， 同我们一起探索发现这片南方大陆。
在这个系列节目中，您将了解到如今澳大利亚人的工作学习情况、生活方式和政治生活。
那么在人们的心目中，澳大利亚究竟是什么样的呢？
旅游业的广告宣传在很大的程度上引导和影响了人们对澳大利亚的看法，因此我们也将这个节目称为“寄自南方大陆的明信片”（POSTCARD FROM DOWN UNDER）。
澳大利亚是旅游目的地--我们要像推销所有其它品牌产品一样将澳大利亚推向世界。
杰夫·贾维斯（Jeff Jarvis）：
澳大利亚这一品牌的真正精髓在于澳大利亚人所说的与生俱来的自由精神，突出展示了澳大利亚是一个年轻、充满活力的旅游目的地：新事物层出不穷，让你可以有所作为。各国游客来到澳大利亚，体验真正的澳大利亚生活。他们会发现，与欧洲、亚洲或美国的生活相比，自由在澳大利亚生活中是十分重要的。
苏·斯拉梅：
杰夫·贾维斯一直从事旅游市场开发工作，目前担任墨尔本莫纳什大学旅游专业研究生课程的负责人。我采访了杰夫，问他吸引海外游客来澳大利亚最有效的宣传活动是什么。
杰夫·贾维斯：
我首先想到的当然就是保罗·霍根（Paul Hogan）的系列宣传片。
苏·斯拉梅：
杰夫，我得打断你一下，因为有些人不知道保罗·霍根是谁或者根本没有看过他演的那些著名的电影和他所扮演的那些角色。其实，我们真地觉得这些表现澳大利亚人滑稽可笑的形象都很老套。能否请你先介绍一下保罗·霍根和他的宣传片呢？
杰夫·贾维斯：
保罗·霍根真是一个不同凡响的人。其实他以前只是悉尼港湾大桥的一个油漆工。
苏·斯拉梅：
在现实生活中，他以前就是干这行的。在澳大利亚，如果做一件事要花很长时间，我们就开玩笑说这是在给悉尼港湾大桥刷油漆呢。你刚油漆完整个大桥，就得回到桥头，又重新开始刷。
杰夫·贾维斯：
是啊，在他的表演天才被发现之前，他干的就是这行。之后他制作了一个电视节目，这个节目在澳大利亚十分成功。我觉得我们很幸运，因为在八十年代初期我们能够由保罗·霍根来制作系列宣传片，成功地在海外对澳大利亚进行了宣传，这就是有名的“烧烤虾”（shrimp on the barbie）系列片。这是第一批电视广告系列片，被收录到了世界广告名片录中。
（插播保罗·霍根的宣传片）
保罗·霍根：
我这里还有几点要提醒你--首先，你的衣服会被打湿，因为澳洲四周环水。而且你还要学会在和人打招呼时说“天儿真好”，因为在澳大利亚，每天都是好天气，所以你要说“保罗，天儿真好啊”，“亲爱的，天儿真好”，等等。当然，你还得习惯当地的一些风俗，比如在餐厅里晒太阳浴，玩橄榄球时不带头盔，还有把所有的人都叫成"伙计"，“谢谢你，伙计”，“她是个不错的伙计”。除了这些，就像澳大利亚人常说的“别担心”，你会在澳大利亚度过你一生之中最美妙的时光。我们和你们讲的当然是同一种语言，不过，你们这些人的口音有点怪。在你迫不及待赶去预定澳大利亚之旅之前，请先拨打这个免费电话，你可以得到一本免费的澳大利亚度假指南。快来吧，到澳洲来，学会说“天儿真好”吧，我这就在烧烤上为你多加上一只虾。
苏·斯拉梅：
保罗·霍根邀请人们来一同品尝烧烤虾，充分表现了澳大利亚人对户外生活的热爱。他们可以在自家花园里、海滩上或者是遥远的乡村野外，也就是他们称作为“内陆”的地方，做出一顿丰盛大餐。
保罗·霍根还在两部在世界各地上映的电影中，扮演了一个澳大利亚内陆捕鳄者的喜剧角色。另外，还有一部电视连续剧“飞行医生”（The Flying Doctors），讲述了一群医生常年乘飞机长途跋涉，到边远地区为病人出诊的故事。这些电影和电视片都表现了澳大利亚内陆的生活。
杰夫·贾维斯：
当然，澳大利亚的海外形象，特别是在美国的形象，一直受流行文化影响。我最近在斯堪的那维亚地区的国家做了一项研究，在那里，流行文化也是塑造澳大利亚形象的主要因素之一。说来你可能都不信，咱们这儿八、九十年代讲皇家飞行医疗服务的电视连续剧“飞行医生”，现在瑞典还在每天播放呢。瑞典人眼里的澳大利亚也和电视里的形象密切相关。流行文化在开拓市场方面很重要，在美国和英国市场尤其重要，这样看来保罗·霍根对在美国推广澳大利亚形象贡献不小。
苏·斯拉梅：
哎，我也曾经打算做一些这方面的调查--因为莫纳什大学有大概六千名海外留学生和三百名交流学生，他们不管在这儿学习一个学期还是一年，都会在学校放假时到处游玩。我采访了丹麦来的马丁·亚历山大和瑞典来的迈克·施特贝尔，问问他们来这里之前对澳大利亚有多少了解。
马丁·亚历山大：
我还真对澳大利亚有一些了解。大约在十年前吧，我去新西兰作过交流学生。新西兰和澳大利亚联系密切，所以我对澳大利亚就有了不少了解。从那时开始，我就一直想来这里多呆些时候。
苏·斯拉梅：
所以你就很毫不犹豫地决定回来，对吧。你能否给我们讲讲你刚到这儿时的经历，也跟我们说说是什么让你又回到了这里？
马丁·亚历山大：
我觉得澳大利亚是个非常了不起的国家。比如说这里的人都特别友好，但好像人们不太……噢，不不不，我不能这么说……
苏·斯拉梅：
嗨，不用这样，你怎么想就怎么说吧。在这儿，人们想说什么就说什么，都很随便。
马丁·亚历山大：
对，我想说的就是这个。这儿的人都很自由自在无拘无束，心地善良，特别乐于助人。在澳大利亚跟不认识的人交谈和相处特别容易。澳大利亚人好像都很开朗，对外国人很感兴趣，想知道他们都做什么工作，为什么来这儿。
苏·斯拉梅：
这可能是因为我们与世界各地的距离都太远了吧。你呢，迈克，你来这儿读书之前了解澳大利亚吗？
迈克·施特贝尔：
我对澳大利亚的了解没那么多，也就是在电视上看到的那些。除了和体育有关的，就只能看到“飞行医生”或者“鳄鱼猎手”（Crocodile Hunter）这样的电视剧。所以，我先对澳大利亚进行了一些了解，才最终决定来这儿的。我有几个朋友以前来过澳洲，他们都极力建议我来这儿。经常听人说澳大利亚人非常友好，虽然这有点儿以偏概全，但却符合实际情况。澳大利亚人确实特别友好、特别健谈，所以很容易和澳大利亚人攀谈起来。有时候还不得不打断他们，要不他们会一直说下去。但是对北欧人来说，总觉得跟陌生人说话很别扭，可我很喜欢同澳大利亚人聊天。我想到这里来的人都会和我一样喜欢和澳大利亚人聊天。当你来到墨尔本，你会觉得从某种意义上讲，墨尔本和欧洲很像。可转过某个街角，你又会突然觉得是在亚洲。这里的文化是多元化的，可能比我设想的更加丰富。真的很难说墨尔本到底是什么样的，每种文化在这里都同时得到了展现。
马丁·亚历山大：
确实是这样。要是我在晚上被绑架到墨尔本，如果有人问我在什么地方，我真的不敢肯定我能不能说出我在哪儿。因为墨尔本确实有些像欧洲，但又有很多美国的东西，可是欧洲也有这些东西啊。这里的文化却极为多元化，这确实令人费解。但我最没想到的还是天气。我一直以为澳大利亚全国各地都很暖和，甚至很炎热，还盼着到这儿来过一个长长的夏天呢。可现在我发现其实澳大利亚现在比丹麦冷多啦。这我可不怎么喜欢……（笑）
苏·斯拉梅：
电视节目、电影以及大获成功的保罗·霍根，为澳大利亚旅游委员会制作的宣传片大多都宣传一些与南半球这片土地相联系的种种传统形象--如地处“阳光澳大利亚”（Sunny Australia）腹地的干涸的红土地和镶嵌在国土四周那蜿蜒千里的金色海滩。这些正是来自加利福尼亚的学生切里斯·汤和其他来到澳洲的游客所期望看到的。
切里斯·汤：
澳大利亚在新闻报道中很少被提及，但却在媒体宣传中频频出现。我在传媒课上曾经就这个现象写过一篇论文。我想老师可能不太喜欢我的文章，因为我谈的基本上是自己对澳大利亚的印象。老师是澳大利亚人，我想她不会喜欢这种文章。
休·斯拉梅：
那现在就跟大家谈谈你当初的印象吧。
切里斯·汤：
在文章开头我谈到了“谍中谍II”（Mission Impossible II）中的几个场景。电影一开始就是袋鼠在澳大利亚内陆荒漠上奔跑的场面，然后男主人公出现了。他一会儿乘摩托艇破浪前进，一会儿又上了直升飞机。这些都是典型的澳大利亚形象，也是我想象中的澳大利亚。 这个电影上映时是在我决定来澳洲的前一年。当时我想，这就是我要去的地方，这就是我想去的地方。然后我写道， 我来了，我还要看袋鼠。我想这儿没有熊，但总该有袋鼠吧。可我一直等到在一个自然保护区里露营时，才终于看到了袋鼠。所以我在文章里说自己当时有多么的失望， 还讲到媒体是如何影响了我们对事物的看法，因为你知道，我要介绍媒体的功能与作用，所以我就用这件事做例子。我所看到的袋鼠没有在澳大利亚内陆荒漠四处奔跑。 要是我没弄错的话， 我敢肯定在澳大利亚的中部会有很多袋鼠，但在墨尔本可不是这样。
苏·斯拉梅：
你的同乡比尔·布赖森（Bill Bryson）写了一本畅销书，名为《日光炙烤的国度》（In A Sunburned Country）。他本以为会在澳大利亚与南加利福尼亚之间发现一些相似之处。
比尔·布赖森：
我清晰的记得自己刚到墨尔本时，站在柯林斯大街上的情景：那时我刚刚到这儿，身上还散发着飞机降落前空中小姐喷洒的杀虫剂的气味，喷雾的飞沫也许还在我身上点点发亮。看着满街叮当作响的有轨电车和熙熙攘攘的人流，我对自己说：“天哪，这儿是一个新国家。”我仿佛独自一人在另一个星球或另一个宇宙里发现了生命，而这儿的生活既是如此相似又是那么完全不同。那种兴奋真是无法用语言表达。
如果说我当时对澳大利亚怀有任何先入为主的看法的话，那就是我以为澳大利亚是另一个南加州，总是阳光明媚，过着欢快、活泼的海滩生活。那时，澳大利亚在我看来是一个既有美国“海滩救护队”（Baywatch）式的生活方式又崇尚打英式板球的国家。但事实远非如此。墨尔本安逸而优雅的氛围较之北美似乎更带着几分欧洲气息。而且当时下着雨，整整一周阴雨连绵。 让我喜出望外的是这与我的想象的完全不同，这也是最重要的，使我一下子就毫不犹豫地喜欢上这儿了，这是我没有想到的。这儿好像有什么东西非常合我的脾气，我想这也许是因为我的一生中一半是在美国，另一半是在英国度过的， 而澳大利亚正是这两者的怡人的结合， 它把典型的美国式随意与轻快构建在了英国式的框架之上。澳大利亚人乐天、随便，乍一看上去仿佛就是美国人。但他们的汽车靠左行驶；他们喝茶、打板球；他们用维多利亚女王的雕像装点公共场所；他们让孩子穿着只有英国人才肯穿的老式校服。我对这一切都毫不感到别扭。 我几乎马上便强烈地意识到我对这里知之甚少，而很奇怪的是，我很高兴地意识到我的无知。 我不知道澳大利亚报纸、海滩、大学和市郊的名字，我对澳大利亚历史和这个国家特有的成就一无所知，我甚至分不清警察和邮递员。可从那时起我就一直喜欢澳大利亚人的说话的声音，那种轻快活泼的节奏，抑扬顿挫的声调，那种不刻意的、淳朴而直接的观察世界的方式。
我曾经在澳大利亚参加了一个小奖项的颁奖典礼，好像是什么"东吉普斯兰青年农民小说处女作奖"。我去参加的原因是，能接到任何一份邀请都足已让我兴高采烈，再加上还有鸡尾酒宴可以享用。当时我正和出版公司的两位女士站在一起，某位自以为是的“大人物”忽然飘然而至。“哦，看哪，是布鲁斯·达兹林！”她们中的一个说道。接着她冷淡，带着鄙夷而又言简意赅地补充道：“他连开信封都当成仪式出席！”有人还给我讲过他的一个英国朋友的故事。这位朋友乘飞机来澳大利亚，途中空中小姐夹给他一个热毛巾，但用的时候却发现是凉的。于是他告诉空中小姐毛巾不够热，他不是想抱怨，只是觉得空中小姐也许会把毛巾再加热一下。空中小姐转过身来，带着甜美的笑容和那么一丁点儿的讽刺回答道："那您为什么不坐在毛巾上，那样准能把它弄热。" 从听到故事的那一刻起，我就知道自己一定会喜欢这个地方，直到现在一想起这个故事，我还是忍不住大笑。
苏·斯拉梅：
比尔·布赖森写了一本有关澳洲的书，十分有趣，名叫《日光炙烤的国度》。比尔对他在澳洲东南端的全国第二大城市墨尔本所看到的一切都感到惊讶，也许是因为墨尔本不像其北方的劲敌悉尼那样频频出现于旅游宣传之中。切里斯·汤刚到维多利亚州的墨尔本学习时，她有点失望，因为那里并没有她所期望的那种“阳光澳大利亚”的海滨生活方式。
切里斯·汤：
我到了维多利亚州，可你知道维多利亚州，特别是墨尔本，在我们的国内媒体上根本没有报道。我觉得墨尔本是个很英国化的城市，而在我们国家的媒体上根本没有这方面的报道。我们看到的大多都是诸如海滨城市之类的介绍。
戴维·邓斯坦（David Dunstan）：
嗯，我觉得外国人愿意相信简单化的澳大利亚的印象，这并不是件坏事。我认为这完全是意料之中的。人们对其他国家、社会和文化都会有很简单化的印象，比如对苏格兰人的印象就是他们的褶裥短裙和城堡。因此无论树立哪种形象，只要能吸引游人就行。当然，我希望游客能平均地分散到澳洲各地，而不是集中在一些主要的旅游地。我真觉得很遗憾，他们的观光活动大多被局限于悉尼或黄金海岸那些相当小的城市地区。
苏·斯拉梅：
戴维·邓斯坦是莫纳什大学旅游与澳大利亚研究专业的高级讲师。
戴维·邓斯坦：
澳大利亚并不仅仅是英美融合的产物，它自己本身就是一个全新的社会。我想，来澳洲的人大多都带来了以前生活环境的特征，来源地的文化和生活方式，但是他们也常常拒绝这些文化。其实澳大利亚的民族性格的许多方面都体现了反英国影响的心理，但很多人却没有认识到这一点。十九世纪和二十世纪来澳大利亚的人都厌恶等级制度，厌恶约束性的社会。就像我们今天所看到的，在澳大利亚人的心理特征中就包含了许多这样的品质。同样，我们在近年来的新移民中也发现了许多类似的特征。如果你回顾四十多年来墨尔本的特征的变化，你会发现从地理分布和文化的角度来看，意大利人、希腊人、土耳其人，尤其是近年来的越南人，对墨尔本市一些街区所产生的影响。而且，他们的贡献是令人惊叹的。我认为所有的墨尔本人以及所有来这里的人都从中受益非浅。
苏·斯拉梅：
大多数来澳洲的海外游客，都要花时间和金钱享受悉尼的海滩文化，或者是再向北走，去享受位于阳光之州昆士兰的黄金海岸的海滩文化。然而，那些南下墨尔本的人却享受到了包容多元文化、超越民族界限的大都市生活。
来自香港的研究生阿比·李到墨尔本来是为了进一步研究这个城市的历史，其中包括探寻自19世纪中期淘金热以来墨尔本与中国的关系史。
阿比·李：
我觉得我和多数游客不一样，我更感兴趣的是了解一个最初由所谓的罪犯组成的国家是如何发展成为当今世界大国之一的。所以，我想了解这其中发生了什么变化、什么促使了这些变化的发生。因为，嗯，特别是中国人，我们真的不是爱玩的人，我们感兴趣的不是海滩、阳光或日光浴。我们更关心的是文化，也许还有历史，还有这里的华人史，毕竟这里从淘金热开始就有中国人了。如果你在澳大利亚没有亲人或朋友，你可能就不会知道在澳大利亚有这么多的中国人。
苏·斯拉梅：
在墨尔本逗留期间，你想发现和参观一些什么呢？
阿比·李：
我想去看一些美术馆，还有去参观几个不错的博物馆。我觉得香港是一个做生意的地方，一个纯粹的商业城市。但和墨尔本比起来，香港的城市发展更全面。况且，这儿的人也不太一样。
苏·斯拉梅：
那我们的旅游宣传为什么没有从各个方面展现澳大利亚的多样性呢？
接下来我们再来听听旅游业研究人员杰夫·贾维斯的观点吧。
杰夫·贾维斯：
在这个问题上，我们需要考虑的一点就是，澳大利亚人希望自己的国家在海外应该以什么样的形象出现。我们生活在澳大利亚，知道澳大利亚是一个多种族、多元文化的国家。澳大利亚不仅仅是悉尼歌剧院、大堡礁和艾尔斯岩石，还有许多不同的侧面。我们比海外宣传的形象更加丰富和多元化。但有一点是我们需要记住的，那就是，我们在国际旅游市场中总要与世界上其它国家竞争，因此我们需要展现澳大利亚的与众不同之处。如果我们去欧洲市场宣传我们的多元文化或宣传墨尔本的艺术节，英国人会说，我为什么要千里迢迢坐飞机到澳大利亚去呢？我可以去维也纳，或者去布拉格，都能获得相似的艺术体验。因此，我们需要重点宣传我们的突出特点，也就是与其他国家的不同之处。为此我们仍要借助于人们心目中那些澳大利亚的传统形象。有些人认为这些传统形象现在都已经过时了。但从某种程度上来说，这些东西仍然存在。
苏·斯拉梅：
你是指诸如生活在澳大利亚内陆辽阔的红色平原上头戴宽边帽典型的丛林人形象。他们已经成为以罗素·德莱斯戴尔（Russel Drysdale）为代表的澳大利亚画家的一个创作主题，而且我们还经常把这些形象印到茶巾等纪念品上面，已经成为澳洲人的典型形象了。但我们，或者说生活在城市里的大多数人都认为，游客来澳大利亚也是要看一看我们是如何生活的。
杰夫·贾维斯：
你说的完全正确。澳大利亚人向来都迷恋乡村和丛林。我们还有许许多多来自于丛林的传奇人物，比如奈特·凯利（Ned Kelly）就是这样的例子。我们一直把这个丛林土匪几乎当成英雄了。因此，我们现在做的就是把这些东西推向国际旅游市场供宣传之用。
苏·斯拉梅：
莫纳什大学旅游专业教师戴维·邓斯坦先生却希望我们的海外旅游宣传能突破那些由“阳光澳大利亚”派生出的传统形象，开拓一个与“文化旅游业”相适应的市场。
杰夫·贾维斯：
我们总是习惯于把游客当成一种单一的商品或他们都同属某一类人。其实他们不是这样的。形形色色的游客，他们年龄各异，怀着不同的旅游目的，有着不同的背景。我们那些技艺高超的marketing人员都非常清楚，我们可以用一系列不同的旅游形象来吸引或吓跑游客，而且他们在这方面很有一套。但我认为，我们同时还需要意识到，与“旅游文化”并存的还有各种“旅行文化”。人们旅行时采用不同的方式，带着不同的想法，并且还有不同的目的。我们还没有开发出我们真正需要的文化旅游业来丰富我们的民族文化，增强我们的文化内涵，我们过多的宣传了一种由阳光、冲浪、沙滩和性观光业为特点的旅游业。这些担忧不无道理，我们应反思澳大利亚旅游业和旅游政策，思考如何对旅游业进行调整改进。我想，随着澳大利亚民族逐渐走向成熟，超越那种保罗·霍根“烧烤虾”式的旅游模式，我们将制定出更加成熟完善的旅游规划。
苏·斯拉梅：
如果说来自北半球的游客受到了流行文化的影响，受到他们所看的电视节目和电影的影响，那么，对于像印度尼西亚的亚辛塔·库尔尼和安妮·巴克·瓦尔达尼这样的来自东南亚的游客来说，她们对澳大利亚的了解仅限于在学校所学的东西。
亚辛特·库尔尼：
我们对澳大利亚的了解就是，那是一个很大的国家，标志性的动物是袋鼠，当然还知道当地居民是澳大利亚原住民，还有澳大利亚是一个西方国家，从电视上看到的，所有的节目，政治和所有一切都是白人占主导地位。所以那时我对澳大利亚的印象是，那是一个离我非常遥远的国家。我根本没想到原来我们离得这么近！
苏·斯拉梅：
你呢，安妮，你对澳大利亚最初的印象是什么呢？
安妮·巴克·瓦尔达尼：
实际上，来这儿之前，我对澳大利亚几乎没什么了解。我的一个太祖父曾是印度尼西亚驻堪培拉的文化专员。回印尼时，他带了好多介绍澳大利亚和南太平洋地区国家的书。 后来，他把其中一本当作礼物送给我。直到那个时侯，我才惊奇的发现，原来澳大利亚离印度尼西亚这么近！可以前我却以为我们相距很远。我原以为在澳大利亚只有白人居住。事实并非如此。那本书中讲到了原住民，我才知道澳大利亚不仅仅只有白人住在那里。
莱内特·罗素：
澳洲中部地区无疑就像一幅巨大的风景画，景色壮观，绚丽无比。不过，让我疑惑不解的是，广告宣传总是把这里描绘成一个亘古永存的地方，让大家都来体验这里有着六万年悠久历史的文化。这一类的话，在我看来，就像听十九世纪时人们谈起原住民一样，说原住民是古老的石器时代的原始人类，是现代人的祖先。
苏·斯拉梅：
莱内特·罗素现任莫纳什大学原住民文化研究中心的主任。
莱内特·罗素除了关注旅游宣传中常用的那些传统型形象，还着重指出这种大众旅游业对传统文化的负面影响。她举了迪吉里杜管（didjeridoo）为例。迪吉里杜管是一种用空心树干做成的传统乐器，和捕猎工具“飞去来器”（boomerang）一样，都是澳大利亚中部地区原住民特有的器具。现在，由于过多地把这些东西当作澳大利亚原住民文化的标识，游客们不论到哪儿都希望看到迪吉里杜管和“飞去来器”。
（插播有关澳大利亚中部地区的旅游广告……）
莱内特·罗素：
现在人们常常把只是某些地区特有的东西当成是整个澳大利亚原住民文化的精髓和特色。比如，“飞去来器”只有澳大利亚中部地区的原住民才使用。迪吉里杜管也只有澳大利亚北部和中部地区的原住民才用，从来不是澳大利亚东南部地区原住民文化的组成部分。现在，尽管迪吉里杜管根本不是某些地区的传统乐器，但是各个地区在展现原住民文化的表演中却经常使用迪吉里杜管，还制作成当地的旅游工艺品，等等。
苏·斯拉梅：
我觉得是许多澳大利亚人可能都不会意识到这一点的。那就是，旅游广告中塑造的澳大利亚形象在我们国内具有的影响力，和在国外的影响力一样大，是这样的吗？
莱内特·罗素：
完全正确。比如，我们一提起旅游艺术，人人都会想到澳大利亚中部地区的普普尼亚艺术传统，都期待看到“圆点画”。有趣的是，当人们来到格拉姆彼恩斯和格里威尔德国家公园，看到传统的维多利亚地区原住民岩画时，通常都很失望。因为他们期待看到的东西根本就不在那儿，也根本就不是这个地区的传统文化。我们最经常听到的评论就是，“这是真正的岩画吗？”“这看上去并不像原住民艺术。”在谈到澳洲中部时，人们总是依赖他们在旅游宣传片中学到的知识。
苏·斯拉梅：
谢谢莱内特·罗素女士，莫纳什大学原住民文化研究中心的主任。
下期节目中，我们将一起来关注一下澳大利亚是如何在2000年悉尼奥运会上向全世界展示自己的形象的，其中包括所传递出的与原住民寻求和解的信息。
[插播 凯茜·弗里曼（Cathy Freeman）获得在2000年悉尼奥运会上获得金牌时澳大利亚广播公司的现场直播录音]
“观众们一致支持选择原住民短跑冠军凯茜·弗里曼点燃奥运圣火。当瀑布从北看台飞泻而下，凯茜·弗里曼点燃了水中的圣火台。尽管这一辉煌时刻延迟了几分钟，但圣火台最终徐徐升到了露天体育场顶端的位置。"
苏·斯拉梅：
我是苏·斯拉梅，这里是澳大利亚广播电台，我们期待您的参与。下次节目“瞭望大看台” 我们再见……
最后，衷心感谢墨尔本莫纳什大学全国澳大利亚研究中心给予的学术指导，感谢赖安·厄甘提供的技术制作。
[/quote]
2006-8-7 02:03
城市童话
英文详细内容
[quote]
SUE SLAMEN: Hello I'm Sue Slamen from Radio Australia and like 'Men at Work' - one of Australia's most successful rock exports - I'd like to invite you to join us and discover 'Australia Now'.
Over the course of this series you'll hear about work and study, lifestyle and politics in contemporary Australia.
So how do people imagine what Australia is like?
The tourist industry through its advertising has played a big part in shaping and colouring people's thinking about Australia so we've called this program POSTCARD FROM DOWN UNDER.
Destination - Australia is promoted to the world in much the same way as any other branded product.
JEFF JARVIS: "The real essence of brand 'Australia' is what they call naturally free spirited, which emphasises Australia as a youthful vibrant destination where things are happening and you can achieve things. Freedom is very important for international tourists to come to Australia to experience life as we view it down here compared to life in Europe, Asia or the United States."
SUE SLAMEN: Jeff Jarvis has worked in tourism marketing and now heads up the Graduate Tourism Program at Monash University in Melbourne.I asked Jeff what has been the most successful marketing campaign in getting overseas tourists to come down under.
JEFF JARVIS: The first one that obviously comes to mind is the Paul Hogan series.
SUE SLAMEN: Now I'll just have to stop you there Jeff, for those who haven't seen Paul Hogan or his famous movies and the sort of persona that he gets across that we do think is really a stereotype of all that's funny about Australians. Perhaps you could describe him and the ads for us?
JEFF JARVIS: Well Paul Hogan was fairly unique; he of course was actually a painter on the Sydney Harbour bridge.
SUE SLAMEN: In real life, that was his job. We joke in Australia don't we about if something takes a long time to do it's a bit like painting the Sydney Harbour bridge, once you've got to the end you've got to go back and start all over again?
JEFF JARVIS: Well that's certainly what he was doing before he was discovered, he then had a very successful television program here in Australia. And I guess we were very lucky because in the early 80s we managed to secure him to promote Australia overseas with a series of commercials, known as the famous "shrimp on the barbie" series. And that was the first commercial; it was actually in a number of hall of fames for advertising around the world.
PAUL HOGAN AD: "Now there's a few things I've got to warn you about - firstly, you're going to get wet, because the place is surrounded by water. Oh, and you're going to have to learn to say g'day, because every day is a good day in Australia. "G'day Paul". "G'day love." Of course you'll have to get used to some of the local customs like getting suntanned at a restaurant and football without a helmet, and calling everyone mate. "Thanks mate". "She's right mate". Apart from that, no worries, you'll have the time of your life in Australia. Of course we talk the same language, although you lot do have a funny accent. Oh and before you rush out and book your aussie holiday call this toll free number for your free aussie holiday book, c'mon, come and say g'day, I'll slip an extra shrimp on the barbie for you."
SUE SLAMEN: Paul Hogan's invitation to come and share a shrimp or a prawn cooked on a barbeque plays on Australians' love of being outdoors where they can cook up a feast in their garden, down at the beach or in the remotest parts of the country, that Australians simply call 'The outback'.
Paul Hogan also played a comic role as a Crocodile Hunter in outback Australia in two movies that showed around the world. And together with a television series called "Flying Doctors", based on the work of those outback doctors who have to visit their patients in remote Australia by plane, they paint a picture of life in the Aussie outback.
JEFF JARVIS: "Certainly our image overseas and most definitely in the United States has been led by popular culture. Now I've just been doing some research in Scandinavia recently and one of the main driving forces for our image over there is also popular culture. And you probably wouldn't believe that there's a tv series we had here in the 80s and 90s called "The Flying Doctors", basically talking about the Royal Flying Doctor service, that is still screened daily in Sweden. And the image of Australia is very closely related to that. As popular culture is so important in that market, it was in the United States and the United Kingdom, and so Paul Hogan yeah, has a lot to be responsible for in terms of our image in the US."
SUE SLAMEN: Well I thought I'd do a little research of my own - there are 6000 overseas students at Monash University - and 300 exchange students who come for a semester or for a year and become tourists during their study-breaks. So I asked Martin Alexander from Denmark and Mikhael Stoebel from Sweden how much they knew about Australia before leaving home?
MARTIN ALEXANDER: "I actually knew quite a bit about Australia because about 10 years ago I was an exchange student in New Zealand and New Zealand and Australia have got quite close relationships, therefore I knew a fair bit about Australia and always wanted to go and stay in the country for a longer time.
SUE SLAMEN: So happily you decided to come back. Could you tell us a little bit about your initial experiences when you came down under and what brought you back?
MARTIN ALEXANDER: I think Australia is a great country, like there's a lot of people here who are extremely friendly and people don't seem to, Oh… I can't say that…
SUE SLAMEN: Oh no you say what you like, please, we like to think we're free and easy in this country.
MARTIN ALEXANDER: Yeah that was actually what I was trying to say like, that you are very free and easy and that people are extremely helpful and kind and it's very easy to talk and meet new people when you're in Australia, like people are very open and they all seem to be very interested in foreigners and what we do and why we're here.
SUE SLAMEN: I think that comes from being so far away from anywhere else. What about you Mikhael, did you know much about Australia before you came down to study?
MIKHAEL STOEBEL: I didn't know that much about Australia, only what you see on TV, unless it has to do with sports all you know is like what you see on "The Flying Doctors" or the "Crocodile Hunter". So I had to do a bit of studying before I actually decided to go down here. I had a few friends that'd been down here before and they recommended warmly. You often hear that Australians are very friendly people, while it's a generalisation but still it's actually true, they are extremely friendly and very talkative, it's very easy to start to talk to an Australian. You might have to stop them sometimes because they can go on and on, but especially as a northern European you find it's a bit strange to talk to a complete stranger, but I love it and people who come here will probably love it as much as I do. When you come to Melbourne you feel that Melbourne is fairly European in one sense, and if you walk around a street corner it's like you're in Asia all of a sudden, so it's very multicultural, probably more ulticultural than I expected it to be. It's really hard to find a sense of what Melbourne really is, just everything at the same time.
MARTIN ALEXANDER: Yeah I would say that if I was just one night abducted and put in the city and people asked me where are you now in the world? I'm not really sure I would have been able to tell them where I was because it does somehow look like Europe and still you've got a lot of the American things, but we have those in Europe as well. And still it is extremely multicultural and it's just strange and one of the things that's actually surprised me the most is the weather because in Australia like the view I had of Australia was that the whole country was hot and warm and I was just looking forward to going down here for one long summer. And right now I realise that the weather here is actually a lot colder than it is in Denmark right now, which I don't like…. laughs"
SUE SLAMEN: Television, movies AND Paul Hogan's highly successful ads for the Australian Tourist Commission all tend to celebrate the stereotypes that have become associated with the land Down Under - the dry red Centre at the heart of 'Sunny Australia' and the stretches of golden beaches around the country's perimeter. It's these stereotypes that visitors, like Cherise Town, a student from California expect to see.
CHERISE TOWN: "Australia is not in the news a lot at all, instead of it being in the news it's in the media a lot. I did a paper for this class in media studies, I don't think my teacher liked it very much because I kind of put in my impression of Australia, her being Australian I figured she's not going to like this.
SUE SLAMEN: Oh you have to tell us now, what was your impression?
CHERISE TOWN: Well I introduced the paper about how "Mission Impossible 2", how it starts off with kangaroos running in the outback and it starts off with him, he's on a boat and he's cruising around and he's in a helicopter and it's just those typical Australian images and how I was thinking, because it came out I think a year before I decided I wanted to come here thinking that's where I'm going, this is where I want to go. And I said I came here and I had yet to see a kangaroo, there's no bears here, instead of bears I figured there'd be kangaroos. But I did eventually see kangaroos when I went camping in a little reserve park, so I was saying how I was disappointed and how, because you know I had to introduce what media does, how it affects us and that was my example. But it's not like they're running in the outback. Maybe if I was right in the middle of the country I'm sure it'd be more common, but Melbourne no.
SUE SLAMEN: Now one of your countrymen Bill Bryson has written a best-selling book called "The Sunburnt Country", and he thought he'd find in Australia something a bit like southern California"
BILL BRYSON: "I clearly recall standing on Collins Street so freshly arrived that I still smelled of and possibly even glistened from the insecticide with which the flight attendant sprayed the plane before arrival. Watching the clanging trams and swirl of humanity and thinking, good lord there's a country here. It was as if I had privately discovered life on another planet or a parallel universe where life was at once recognisably similar but yet entirely different. I can't tell you how exciting it was. Insofar as I'd accumulated any expectations of Australia at all I had thought of it as a kind of alternative southern California, a place of constant sunshine and the cheerful rapidity of the beach lifestyle, a sort of "Baywatch" with cricket as I thought it. But this was nothing like that. Melbourne had a settled and gracious air that was much more European than North American and it rained, it rained the whole week, which delighted me inordinately because it was so totally not what I had expected. What's more, and here we come to the real crux of things, I liked it straight off without quibble or doubt in a way I had never expected to. Something about it just agreed with me. I supposed it helped that I had spent half my life in America and half in Britain because Australia was such a comfortable fusion of the two. It had a casualness and vivacity that felt distinctly American, but hung on a British framework. And their optimism and informality, Australians could pass at a glance for Americans, but they drove on the left, drank tea, played cricket, adorned their public places with statues of Queen Victoria, dressed their children in the sort of school uniforms that only a Britannic people could wear without conspicuous regret. I felt extremely comfortable with this. Almost at once I became acutely and in an odd way delightedly aware of how little I knew about the place. I didn't know the names of their newspapers or beaches or universities or suburbs, knew nothing of their history or private achievements, couldn't tell a policeman from a postman. I loved, still do, Australian voices, the lilt and cadence, the effortlessly dry direct way of viewing the world. At a reception for some minor award's presentation, the East Gippsland Young Farmers First Novel award or something, which I attended because I was just so pleased to get an invitation to anything and because cocktails were promised, I was standing with two female publicists from my publishers when some obviously self-infatuated bigwig breezed in. Oh look, it's Bruce Dazzling, observed one of the publicists, and then with a kind of distant perfectly encapsulating disdain added, he'd go to the opening of an envelope. Someone else told me the story of an English friend of his who was flying to Australia when the stewardess toned him a hot towel, which proved upon application to be cold. So he told her, not in complaint but simply because he thought she might want to warm them up some more. The stewardess turned to him and smiling sweetly with only the tiniest trace of sarcasm said, well why don't you sit on it a bit, that should warm it up. I knew as soon as I heard that story I was going to like this place, I haven't stopped yet… …laughter."
SUE SLAMEN: Bill Bryson, whose thoroughly entertaining book about Australia is called IN A SUNBURNED COUNTRY.
Perhaps Bill's surprise at what he found in Melbourne, Australia's second biggest city located in the far South East of the continent is due to the fact that Melbourne hasn't featured as much in the tourist ads as its Northern rival, Sydney.
When Cherise Town came to Melbourne, in the state of Victoria, for study she was a little disappointed that it didn't offer the sort of beach lifestyle that she'd come to expect of 'Sunny Australia'…
CHERISE TOWN: "I came down to Victoria and you know Victoria, especially Melbourne that's not in the media at home at all. I feel like Melbourne is more of an English influenced city and we don't get these images at all, you see more beach kind of city."
DAVID DUNSTAN: "Well I don't think it's a bad thing that people overseas respond to rather simplified images of Australia, I think that's entirely predictable, where you have very simplified views of other nations and other societies and cultures, Scotsmen and their kilts and their castles for example. So you use whatever hooks and tags will work to attract people here. And certainly I would like to see tourists spread more evenly across the various Australian regions. I think it's rather unfortunate they tend to be trapped as they are in fairly small precincts of urban areas in Sydney and on the Gold Coast."
SUE SLAMEN: David Dunstan is a Senior Lecturer in Tourism and Australian Studies at Monash University.
DAVID DUNSTAN: "Australia is not simply a cross between Britain and America. It is a new world society in its own right. I think very often people who come to Australia they bring old world traits with them, they bring the culture and lifestyles of the places that they've come from. But very often they're rejecting the culture of the places they're coming from. It's not commonly understood that a lot of the Australian character I think its reflective of an anti-Britishness. You know the people who came out to Australia in the 19th century and the 20th century very often didn't like the class system, didn't like the restrictive nature of the society. A lot of that is in the character of the Australian psyche, as we know it today. Similarly we see a lot in the character of recent arrivals and if you can think back over Melbourne's identity over a 40-year period you can almost see in geographical and cultural terms the impact that's been made by Italians, by Greeks, by Turks and perhaps most recently by Vietnamese on certain precincts in the city. And that contribution has been marvellous, it's been something that I think all Melbournians have enjoyed, but also for people who come here to enjoy as well."
SUE SLAMEN: The majority of overseas tourists to Australia spend their time and their money enjoying the beach culture of Sydney or the Gold Coast further north in the sunshine state of Queensland'.
However, those who do venture south to Melbourne enjoy the cosmopolitan life of a city that supports many cultures.
Abbi Li, a graduate student in Hong Kong came to Melbourne to discover more about its history including its connection with the Chinese that dates back to the days of the Gold Rushes in the middle of the nineteenth century.
ABBI LI: "I'm not like most tourists I think. I'm more interested to see how a country of such a convict background so to speak can turn out to be one of the world's largest countries of these days. So I would like to see how they changed and what brought about the changes, because - well - especially Chinese, we're not really fun loving people, we don't look for beaches, we don't look for sunshine, we don't look for sunbathing. We're more for the cultures and maybe history and perhaps the Chinese history here, particularly it has a very early Chinese presence, since the Gold Rush, and if you don't have a family or a person to contact in Australia, you probably won't know there are so many Chinese in Australia.
SUE SLAMEN: What are some of the things you would like to see, would like to discover while you're here in Melbourne?
ABBI LI: Well I would like to see some art galleries here, some nice museums that you have here. I see Hong Kong is like a place where people do business and only business, but compared to a city like Melbourne it's more well rounded as a city. And people are a bit different here.
SUE SLAMEN: So why don't tourism campaigns show Australia in all of its diversity?
Tourism researcher, Jeff Jarvis, again…
JEFF JARVIS: "The thing we need to consider here is that there's a view on how Australians would like to see themselves being promoted overseas. We know by living in Australia that Australia is a multiracial, multicultural society, there are various different aspects, we're not just the Opera House, the Barrier Reef and Ayres Rock. There's a lot more diversity and multifaceted layers to Australian than we tend to see sometimes in advertisements overseas. What we need to remember is always in international tourism we are competing with the rest of the world, so we need to talk about what is different in Australia. If we go into the European marketplace and talk about our multiculturalism or the arts festivals down here in Melbourne, people in England say well, why should I fly all the way to Australia? I can go to Vienna or I can go to Prague, I can get very similar experiences. So we need to focus on what stands out and makes Australia different, and we tend to then rely on those stereotypes, which some people say are outdated these days but then they do exist to a certain extent.
SUE SLAMEN: Stereotypes like the quintessential bush figure in his Akubra hat in the vast red plains of the outback, that kind of thing, which is an icon which our painters like Russel Drysdale paint that we put on souvenir tea-towels. But those of us, and most of us who live in the cities would like to think people come here also to see how most of us live?
JEFF JARVIS: I think you're exactly right in terms Australia has always had this fascination with the country and the bush and we've also had a lot of heroes coming from that part of the world. Look at people like Ned Kelly; we've always had the bushranger as almost a bit of a hero in Australian society. So what we're doing is we're transferring that to an international marketplace."
SUE SLAMEN: However David Dunstan who lectures in Tourism at Monash University would like the tourist ads to move beyond the stereotyped images associated with Sunny Australia and develop a niche market for 'cultural tourism'.
DAVID DUNSTAN: "We tend to think of tourists as a one dimensional commodity or one particular type of person, but they're not. They come in all shapes and sizes, they come in all ages, they have different motivations, they come from different backgrounds, and as our very skilful marketers know all very well that you can turn them on and off by a range of different images, and they're quite skilled at doing that. But I think we also need to be aware that not only is there a tourist culture, there are now touring cultures, and people travel in different ways and with different preconceptions and different aspirations in mind. Perhaps we're not getting as much of the cultural tourism that we probably really need to enrich our nation and to support our cultural institutions. Perhaps we're getting too much of the sun, surf, sand and sex sort of tourism. These are legitimate concerns I think and we can think about tourism and tourist policy with a view to shaving it and changing it, and I think as we mature as a nation and as we get beyond the sort of Paul Hogan 'Shrimp on a barbie' type exercise we'll be looking towards a more sophisticated tourist program."
SUE SLAMEN: If visitors from the Northern Hemisphere are influenced by popular culture, what they see on TV and at the movies, visitors from Southeast Asia, like Yacinta Kurniasih and Annie Baiq Wardhani from Indonesia, knew only as much as they'd been taught at school.
YACINTA KURNIASIH: "What we learn about Australia was that it's a big country, the famous icon is kangaroo and of course the native people are Aborigines, and we know that it's a western country what we watch on TV and the programs and the politics and everything is the white dominant. So my perception at that moment is like it is far, I didn't realise that we were actually that close.
SUE SLAMEN: What about you Annie, what are your earliest understandings of Australia?
ANNIE BAIQ WARDHANI: I didn't know much actually about Australia before I came here. When one of my grand, grandfathers was cultural attaché here in Canberra when he went back to Indonesia he brought a lot of books about Australia and about South Pacific countries. And then at that time my grand, grandfather gave me that book as a present for me and then I was so surprised that Australia was so close to Indonesia. I didn't think that before, and I thought that Australia only occupied by white man, but actually no, the book told me about Aboriginal people, and yeah, I just realised that Australia's not just occupied by white people. "
LYNETTE RUSSELL: "Central Australia is an enormous drawcard of course and it is obviously visually spectacular, a beautiful part of the world. It disturbs me though when I see the advertising campaigns that consistently refer to it as being ancient and timeless and come and experience 60,000 years of culture. These types of phrases, which for me have echoes from the 19th century when people talked about Aboriginal people as being timeless and stone-age and primitive people who were in fact the ancestors of modern man."
SUE SLAMEN: Lynette Russell holds the Chair in Aboriginal Studies at Monash University.
Apart from the stereotypes that tourist ads often perpetuate she also highlights the negative aspects that mass tourism can have on traditional cultures. She gives the example of the 'didjeridoo', that's the traditional musical instrument fashioned out of a hollow tree branch. Or the hunting tool, known as the boomerang, which are quite specific to the Aboriginal communities of Central Australia. These have been used though so much as icons of Aboriginal Australia that as a result tourists expect to see them wherever they go.
(SFX: Tourism Ad for Central Australia)
LYNETTE RUSSELL: "What is really a regionally specific item, a boomerang take for example, confined to central Australian area, tends now to be thought of as being a quintessential Australian Aboriginal item or a didjeridoo, which again northern and central Australia. And the didjeridoo was never a part of Aboriginal culture say for example in the south eastern part of Australia, but now indigenous cultures regularly incorporate the didjeridoo into their performances, tourist works, that type of thing, even though it's not a traditional item for this part of the world.
SUE SLAMEN: Which is something I suppose a lot of Australians wouldn't realise. I mean tourist images also have as much influence within Australia as they do overseas don't they?
LYNETTE RUSSELL: Absolutely, what people think of as tourist art for example, everybody thinks of the Pupunya traditions of central Australia and they're looking for dot paintings. And it's very interesting when people then go to say the Grampians and Gariwerd National Park and they see traditional Victorian Aboriginal rock art and they're frequently disappointed, because what they're looking for is not going to be there, because it's actually not part of this tradition. And one of the most common comments was is this really rock art; this doesn't look like Aboriginal art. People were attempting to use a framework that they had really got from the tourism campaigns, particularly in reference to central Australia."
SUE SLAMEN: Lynette Russell, Director of the Indigenous Studies Centre at Monash University.
In our next program, we look at the images Australia projected to the world from the Sydney 2000 Olympics including the message of reconciliation with Australia's indigenous communities.
(SFX: ABC coverage of the 2000 Sydney Olympic Games, Cathy Freeman winning the gold medal.)
"The audience showed its approval of the selection of the champion Aboriginal runner to light the Olympic cauldron. As water cascaded down the northern stand Freeman ignited a submerged cauldron, which despite a several minute delay, eventually made its way up to its resting place at the top of the stadium."
SUE SLAMEN: Hope you can join me - Sue Slamen - on Radio Australia next time for 'View from the Grandstand'…
My thanks to the National Centre for Australian Studies at Monash University in Melbourne, for academic advice and to Ryan Egan for technical production.
[/quote]
[quote]
SUE SLAMEN: Hello I'm Sue Slamen from Radio Australia and like 'Men at Work' - one of Australia's most successful rock exports - I'd like to invite you to join us and discover 'Australia Now'.
Over the course of this series you'll hear about work and study, lifestyle and politics in contemporary Australia.
So how do people imagine what Australia is like?
The tourist industry through its advertising has played a big part in shaping and colouring people's thinking about Australia so we've called this program POSTCARD FROM DOWN UNDER.
Destination - Australia is promoted to the world in much the same way as any other branded product.
JEFF JARVIS: "The real essence of brand 'Australia' is what they call naturally free spirited, which emphasises Australia as a youthful vibrant destination where things are happening and you can achieve things. Freedom is very important for international tourists to come to Australia to experience life as we view it down here compared to life in Europe, Asia or the United States."
SUE SLAMEN: Jeff Jarvis has worked in tourism marketing and now heads up the Graduate Tourism Program at Monash University in Melbourne.I asked Jeff what has been the most successful marketing campaign in getting overseas tourists to come down under.
JEFF JARVIS: The first one that obviously comes to mind is the Paul Hogan series.
SUE SLAMEN: Now I'll just have to stop you there Jeff, for those who haven't seen Paul Hogan or his famous movies and the sort of persona that he gets across that we do think is really a stereotype of all that's funny about Australians. Perhaps you could describe him and the ads for us?
JEFF JARVIS: Well Paul Hogan was fairly unique; he of course was actually a painter on the Sydney Harbour bridge.
SUE SLAMEN: In real life, that was his job. We joke in Australia don't we about if something takes a long time to do it's a bit like painting the Sydney Harbour bridge, once you've got to the end you've got to go back and start all over again?
JEFF JARVIS: Well that's certainly what he was doing before he was discovered, he then had a very successful television program here in Australia. And I guess we were very lucky because in the early 80s we managed to secure him to promote Australia overseas with a series of commercials, known as the famous "shrimp on the barbie" series. And that was the first commercial; it was actually in a number of hall of fames for advertising around the world.
PAUL HOGAN AD: "Now there's a few things I've got to warn you about - firstly, you're going to get wet, because the place is surrounded by water. Oh, and you're going to have to learn to say g'day, because every day is a good day in Australia. "G'day Paul". "G'day love." Of course you'll have to get used to some of the local customs like getting suntanned at a restaurant and football without a helmet, and calling everyone mate. "Thanks mate". "She's right mate". Apart from that, no worries, you'll have the time of your life in Australia. Of course we talk the same language, although you lot do have a funny accent. Oh and before you rush out and book your aussie holiday call this toll free number for your free aussie holiday book, c'mon, come and say g'day, I'll slip an extra shrimp on the barbie for you."
SUE SLAMEN: Paul Hogan's invitation to come and share a shrimp or a prawn cooked on a barbeque plays on Australians' love of being outdoors where they can cook up a feast in their garden, down at the beach or in the remotest parts of the country, that Australians simply call 'The outback'.
Paul Hogan also played a comic role as a Crocodile Hunter in outback Australia in two movies that showed around the world. And together with a television series called "Flying Doctors", based on the work of those outback doctors who have to visit their patients in remote Australia by plane, they paint a picture of life in the Aussie outback.
JEFF JARVIS: "Certainly our image overseas and most definitely in the United States has been led by popular culture. Now I've just been doing some research in Scandinavia recently and one of the main driving forces for our image over there is also popular culture. And you probably wouldn't believe that there's a tv series we had here in the 80s and 90s called "The Flying Doctors", basically talking about the Royal Flying Doctor service, that is still screened daily in Sweden. And the image of Australia is very closely related to that. As popular culture is so important in that market, it was in the United States and the United Kingdom, and so Paul Hogan yeah, has a lot to be responsible for in terms of our image in the US."
SUE SLAMEN: Well I thought I'd do a little research of my own - there are 6000 overseas students at Monash University - and 300 exchange students who come for a semester or for a year and become tourists during their study-breaks. So I asked Martin Alexander from Denmark and Mikhael Stoebel from Sweden how much they knew about Australia before leaving home?
MARTIN ALEXANDER: "I actually knew quite a bit about Australia because about 10 years ago I was an exchange student in New Zealand and New Zealand and Australia have got quite close relationships, therefore I knew a fair bit about Australia and always wanted to go and stay in the country for a longer time.
SUE SLAMEN: So happily you decided to come back. Could you tell us a little bit about your initial experiences when you came down under and what brought you back?
MARTIN ALEXANDER: I think Australia is a great country, like there's a lot of people here who are extremely friendly and people don't seem to, Oh… I can't say that…
SUE SLAMEN: Oh no you say what you like, please, we like to think we're free and easy in this country.
MARTIN ALEXANDER: Yeah that was actually what I was trying to say like, that you are very free and easy and that people are extremely helpful and kind and it's very easy to talk and meet new people when you're in Australia, like people are very open and they all seem to be very interested in foreigners and what we do and why we're here.
SUE SLAMEN: I think that comes from being so far away from anywhere else. What about you Mikhael, did you know much about Australia before you came down to study?
MIKHAEL STOEBEL: I didn't know that much about Australia, only what you see on TV, unless it has to do with sports all you know is like what you see on "The Flying Doctors" or the "Crocodile Hunter". So I had to do a bit of studying before I actually decided to go down here. I had a few friends that'd been down here before and they recommended warmly. You often hear that Australians are very friendly people, while it's a generalisation but still it's actually true, they are extremely friendly and very talkative, it's very easy to start to talk to an Australian. You might have to stop them sometimes because they can go on and on, but especially as a northern European you find it's a bit strange to talk to a complete stranger, but I love it and people who come here will probably love it as much as I do. When you come to Melbourne you feel that Melbourne is fairly European in one sense, and if you walk around a street corner it's like you're in Asia all of a sudden, so it's very multicultural, probably more ulticultural than I expected it to be. It's really hard to find a sense of what Melbourne really is, just everything at the same time.
MARTIN ALEXANDER: Yeah I would say that if I was just one night abducted and put in the city and people asked me where are you now in the world? I'm not really sure I would have been able to tell them where I was because it does somehow look like Europe and still you've got a lot of the American things, but we have those in Europe as well. And still it is extremely multicultural and it's just strange and one of the things that's actually surprised me the most is the weather because in Australia like the view I had of Australia was that the whole country was hot and warm and I was just looking forward to going down here for one long summer. And right now I realise that the weather here is actually a lot colder than it is in Denmark right now, which I don't like…. laughs"
SUE SLAMEN: Television, movies AND Paul Hogan's highly successful ads for the Australian Tourist Commission all tend to celebrate the stereotypes that have become associated with the land Down Under - the dry red Centre at the heart of 'Sunny Australia' and the stretches of golden beaches around the country's perimeter. It's these stereotypes that visitors, like Cherise Town, a student from California expect to see.
CHERISE TOWN: "Australia is not in the news a lot at all, instead of it being in the news it's in the media a lot. I did a paper for this class in media studies, I don't think my teacher liked it very much because I kind of put in my impression of Australia, her being Australian I figured she's not going to like this.
SUE SLAMEN: Oh you have to tell us now, what was your impression?
CHERISE TOWN: Well I introduced the paper about how "Mission Impossible 2", how it starts off with kangaroos running in the outback and it starts off with him, he's on a boat and he's cruising around and he's in a helicopter and it's just those typical Australian images and how I was thinking, because it came out I think a year before I decided I wanted to come here thinking that's where I'm going, this is where I want to go. And I said I came here and I had yet to see a kangaroo, there's no bears here, instead of bears I figured there'd be kangaroos. But I did eventually see kangaroos when I went camping in a little reserve park, so I was saying how I was disappointed and how, because you know I had to introduce what media does, how it affects us and that was my example. But it's not like they're running in the outback. Maybe if I was right in the middle of the country I'm sure it'd be more common, but Melbourne no.
SUE SLAMEN: Now one of your countrymen Bill Bryson has written a best-selling book called "The Sunburnt Country", and he thought he'd find in Australia something a bit like southern California"
BILL BRYSON: "I clearly recall standing on Collins Street so freshly arrived that I still smelled of and possibly even glistened from the insecticide with which the flight attendant sprayed the plane before arrival. Watching the clanging trams and swirl of humanity and thinking, good lord there's a country here. It was as if I had privately discovered life on another planet or a parallel universe where life was at once recognisably similar but yet entirely different. I can't tell you how exciting it was. Insofar as I'd accumulated any expectations of Australia at all I had thought of it as a kind of alternative southern California, a place of constant sunshine and the cheerful rapidity of the beach lifestyle, a sort of "Baywatch" with cricket as I thought it. But this was nothing like that. Melbourne had a settled and gracious air that was much more European than North American and it rained, it rained the whole week, which delighted me inordinately because it was so totally not what I had expected. What's more, and here we come to the real crux of things, I liked it straight off without quibble or doubt in a way I had never expected to. Something about it just agreed with me. I supposed it helped that I had spent half my life in America and half in Britain because Australia was such a comfortable fusion of the two. It had a casualness and vivacity that felt distinctly American, but hung on a British framework. And their optimism and informality, Australians could pass at a glance for Americans, but they drove on the left, drank tea, played cricket, adorned their public places with statues of Queen Victoria, dressed their children in the sort of school uniforms that only a Britannic people could wear without conspicuous regret. I felt extremely comfortable with this. Almost at once I became acutely and in an odd way delightedly aware of how little I knew about the place. I didn't know the names of their newspapers or beaches or universities or suburbs, knew nothing of their history or private achievements, couldn't tell a policeman from a postman. I loved, still do, Australian voices, the lilt and cadence, the effortlessly dry direct way of viewing the world. At a reception for some minor award's presentation, the East Gippsland Young Farmers First Novel award or something, which I attended because I was just so pleased to get an invitation to anything and because cocktails were promised, I was standing with two female publicists from my publishers when some obviously self-infatuated bigwig breezed in. Oh look, it's Bruce Dazzling, observed one of the publicists, and then with a kind of distant perfectly encapsulating disdain added, he'd go to the opening of an envelope. Someone else told me the story of an English friend of his who was flying to Australia when the stewardess toned him a hot towel, which proved upon application to be cold. So he told her, not in complaint but simply because he thought she might want to warm them up some more. The stewardess turned to him and smiling sweetly with only the tiniest trace of sarcasm said, well why don't you sit on it a bit, that should warm it up. I knew as soon as I heard that story I was going to like this place, I haven't stopped yet… …laughter."
SUE SLAMEN: Bill Bryson, whose thoroughly entertaining book about Australia is called IN A SUNBURNED COUNTRY.
Perhaps Bill's surprise at what he found in Melbourne, Australia's second biggest city located in the far South East of the continent is due to the fact that Melbourne hasn't featured as much in the tourist ads as its Northern rival, Sydney.
When Cherise Town came to Melbourne, in the state of Victoria, for study she was a little disappointed that it didn't offer the sort of beach lifestyle that she'd come to expect of 'Sunny Australia'…
CHERISE TOWN: "I came down to Victoria and you know Victoria, especially Melbourne that's not in the media at home at all. I feel like Melbourne is more of an English influenced city and we don't get these images at all, you see more beach kind of city."
DAVID DUNSTAN: "Well I don't think it's a bad thing that people overseas respond to rather simplified images of Australia, I think that's entirely predictable, where you have very simplified views of other nations and other societies and cultures, Scotsmen and their kilts and their castles for example. So you use whatever hooks and tags will work to attract people here. And certainly I would like to see tourists spread more evenly across the various Australian regions. I think it's rather unfortunate they tend to be trapped as they are in fairly small precincts of urban areas in Sydney and on the Gold Coast."
SUE SLAMEN: David Dunstan is a Senior Lecturer in Tourism and Australian Studies at Monash University.
DAVID DUNSTAN: "Australia is not simply a cross between Britain and America. It is a new world society in its own right. I think very often people who come to Australia they bring old world traits with them, they bring the culture and lifestyles of the places that they've come from. But very often they're rejecting the culture of the places they're coming from. It's not commonly understood that a lot of the Australian character I think its reflective of an anti-Britishness. You know the people who came out to Australia in the 19th century and the 20th century very often didn't like the class system, didn't like the restrictive nature of the society. A lot of that is in the character of the Australian psyche, as we know it today. Similarly we see a lot in the character of recent arrivals and if you can think back over Melbourne's identity over a 40-year period you can almost see in geographical and cultural terms the impact that's been made by Italians, by Greeks, by Turks and perhaps most recently by Vietnamese on certain precincts in the city. And that contribution has been marvellous, it's been something that I think all Melbournians have enjoyed, but also for people who come here to enjoy as well."
SUE SLAMEN: The majority of overseas tourists to Australia spend their time and their money enjoying the beach culture of Sydney or the Gold Coast further north in the sunshine state of Queensland'.
However, those who do venture south to Melbourne enjoy the cosmopolitan life of a city that supports many cultures.
Abbi Li, a graduate student in Hong Kong came to Melbourne to discover more about its history including its connection with the Chinese that dates back to the days of the Gold Rushes in the middle of the nineteenth century.
ABBI LI: "I'm not like most tourists I think. I'm more interested to see how a country of such a convict background so to speak can turn out to be one of the world's largest countries of these days. So I would like to see how they changed and what brought about the changes, because - well - especially Chinese, we're not really fun loving people, we don't look for beaches, we don't look for sunshine, we don't look for sunbathing. We're more for the cultures and maybe history and perhaps the Chinese history here, particularly it has a very early Chinese presence, since the Gold Rush, and if you don't have a family or a person to contact in Australia, you probably won't know there are so many Chinese in Australia.
SUE SLAMEN: What are some of the things you would like to see, would like to discover while you're here in Melbourne?
ABBI LI: Well I would like to see some art galleries here, some nice museums that you have here. I see Hong Kong is like a place where people do business and only business, but compared to a city like Melbourne it's more well rounded as a city. And people are a bit different here.
SUE SLAMEN: So why don't tourism campaigns show Australia in all of its diversity?
Tourism researcher, Jeff Jarvis, again…
JEFF JARVIS: "The thing we need to consider here is that there's a view on how Australians would like to see themselves being promoted overseas. We know by living in Australia that Australia is a multiracial, multicultural society, there are various different aspects, we're not just the Opera House, the Barrier Reef and Ayres Rock. There's a lot more diversity and multifaceted layers to Australian than we tend to see sometimes in advertisements overseas. What we need to remember is always in international tourism we are competing with the rest of the world, so we need to talk about what is different in Australia. If we go into the European marketplace and talk about our multiculturalism or the arts festivals down here in Melbourne, people in England say well, why should I fly all the way to Australia? I can go to Vienna or I can go to Prague, I can get very similar experiences. So we need to focus on what stands out and makes Australia different, and we tend to then rely on those stereotypes, which some people say are outdated these days but then they do exist to a certain extent.
SUE SLAMEN: Stereotypes like the quintessential bush figure in his Akubra hat in the vast red plains of the outback, that kind of thing, which is an icon which our painters like Russel Drysdale paint that we put on souvenir tea-towels. But those of us, and most of us who live in the cities would like to think people come here also to see how most of us live?
JEFF JARVIS: I think you're exactly right in terms Australia has always had this fascination with the country and the bush and we've also had a lot of heroes coming from that part of the world. Look at people like Ned Kelly; we've always had the bushranger as almost a bit of a hero in Australian society. So what we're doing is we're transferring that to an international marketplace."
SUE SLAMEN: However David Dunstan who lectures in Tourism at Monash University would like the tourist ads to move beyond the stereotyped images associated with Sunny Australia and develop a niche market for 'cultural tourism'.
DAVID DUNSTAN: "We tend to think of tourists as a one dimensional commodity or one particular type of person, but they're not. They come in all shapes and sizes, they come in all ages, they have different motivations, they come from different backgrounds, and as our very skilful marketers know all very well that you can turn them on and off by a range of different images, and they're quite skilled at doing that. But I think we also need to be aware that not only is there a tourist culture, there are now touring cultures, and people travel in different ways and with different preconceptions and different aspirations in mind. Perhaps we're not getting as much of the cultural tourism that we probably really need to enrich our nation and to support our cultural institutions. Perhaps we're getting too much of the sun, surf, sand and sex sort of tourism. These are legitimate concerns I think and we can think about tourism and tourist policy with a view to shaving it and changing it, and I think as we mature as a nation and as we get beyond the sort of Paul Hogan 'Shrimp on a barbie' type exercise we'll be looking towards a more sophisticated tourist program."
SUE SLAMEN: If visitors from the Northern Hemisphere are influenced by popular culture, what they see on TV and at the movies, visitors from Southeast Asia, like Yacinta Kurniasih and Annie Baiq Wardhani from Indonesia, knew only as much as they'd been taught at school.
YACINTA KURNIASIH: "What we learn about Australia was that it's a big country, the famous icon is kangaroo and of course the native people are Aborigines, and we know that it's a western country what we watch on TV and the programs and the politics and everything is the white dominant. So my perception at that moment is like it is far, I didn't realise that we were actually that close.
SUE SLAMEN: What about you Annie, what are your earliest understandings of Australia?
ANNIE BAIQ WARDHANI: I didn't know much actually about Australia before I came here. When one of my grand, grandfathers was cultural attaché here in Canberra when he went back to Indonesia he brought a lot of books about Australia and about South Pacific countries. And then at that time my grand, grandfather gave me that book as a present for me and then I was so surprised that Australia was so close to Indonesia. I didn't think that before, and I thought that Australia only occupied by white man, but actually no, the book told me about Aboriginal people, and yeah, I just realised that Australia's not just occupied by white people. "
LYNETTE RUSSELL: "Central Australia is an enormous drawcard of course and it is obviously visually spectacular, a beautiful part of the world. It disturbs me though when I see the advertising campaigns that consistently refer to it as being ancient and timeless and come and experience 60,000 years of culture. These types of phrases, which for me have echoes from the 19th century when people talked about Aboriginal people as being timeless and stone-age and primitive people who were in fact the ancestors of modern man."
SUE SLAMEN: Lynette Russell holds the Chair in Aboriginal Studies at Monash University.
Apart from the stereotypes that tourist ads often perpetuate she also highlights the negative aspects that mass tourism can have on traditional cultures. She gives the example of the 'didjeridoo', that's the traditional musical instrument fashioned out of a hollow tree branch. Or the hunting tool, known as the boomerang, which are quite specific to the Aboriginal communities of Central Australia. These have been used though so much as icons of Aboriginal Australia that as a result tourists expect to see them wherever they go.
(SFX: Tourism Ad for Central Australia)
LYNETTE RUSSELL: "What is really a regionally specific item, a boomerang take for example, confined to central Australian area, tends now to be thought of as being a quintessential Australian Aboriginal item or a didjeridoo, which again northern and central Australia. And the didjeridoo was never a part of Aboriginal culture say for example in the south eastern part of Australia, but now indigenous cultures regularly incorporate the didjeridoo into their performances, tourist works, that type of thing, even though it's not a traditional item for this part of the world.
SUE SLAMEN: Which is something I suppose a lot of Australians wouldn't realise. I mean tourist images also have as much influence within Australia as they do overseas don't they?
LYNETTE RUSSELL: Absolutely, what people think of as tourist art for example, everybody thinks of the Pupunya traditions of central Australia and they're looking for dot paintings. And it's very interesting when people then go to say the Grampians and Gariwerd National Park and they see traditional Victorian Aboriginal rock art and they're frequently disappointed, because what they're looking for is not going to be there, because it's actually not part of this tradition. And one of the most common comments was is this really rock art; this doesn't look like Aboriginal art. People were attempting to use a framework that they had really got from the tourism campaigns, particularly in reference to central Australia."
SUE SLAMEN: Lynette Russell, Director of the Indigenous Studies Centre at Monash University.
In our next program, we look at the images Australia projected to the world from the Sydney 2000 Olympics including the message of reconciliation with Australia's indigenous communities.
(SFX: ABC coverage of the 2000 Sydney Olympic Games, Cathy Freeman winning the gold medal.)
"The audience showed its approval of the selection of the champion Aboriginal runner to light the Olympic cauldron. As water cascaded down the northern stand Freeman ignited a submerged cauldron, which despite a several minute delay, eventually made its way up to its resting place at the top of the stadium."
SUE SLAMEN: Hope you can join me - Sue Slamen - on Radio Australia next time for 'View from the Grandstand'…
My thanks to the National Centre for Australian Studies at Monash University in Melbourne, for academic advice and to Ryan Egan for technical production.
[/quote]
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