hand, the reality of a possible lack of public interest and whether the trouble of collaborating on a project was worth the effort. 28
Companies have been known to stipulate their right to the script prior to final agreements, as the contents of associated media must be considered as well. 29 Projects with positive appeal, for example, have shown to draw more visitors than darker material. 30 Furthermore, fictional realities can easily undermine serious
educational values, as seen with the perceived ‘low - brow’ tourism at Angkor Wat
after Lara Croft: Tomb Raider (2001), which subverted the cultural heritage goals of the management’s intended presentation. 31 Another example of a negative
association is how the British Museum felt compelled to correct historical
inaccuracies observed in Night at the Museum 3 (2014) regarding the reality of their collections. 32 The connotations of a production and what it purports can reflect on the whole reputation of the site. 33 Therefore, management needs to carefully bridge the divide between cultural heritage and popular screen intrigue. 34 The association must
be considered thoroughly, not just in logistical and monetary terms, but also of the
image the site would henceforth project to visitors and the influence on their experience. 35
In continuation of this theme, the narratives of literature, film or television could illuminate but more significantly distort the presentation of the past. 36
Nonetheless, a story can be what influences a person to not only visit but also
28 Myra Shackley, ‘ Visitor Management at World Heritage Sites’ in Managing World Heritage Sites , ed. by Anna Leask and Alan Fyall (Oxford: Butterworth-Heinemann, 2006), pp. 83-93 (p. 92). 29 16, clause 2.16 30 Olsberg SPI , Quantifying Film and Television Tourism in England , p. 16. 31 Reynolds, p. 52. See also Olsberg SPI , Quantifying Film and Television Tourism in England , p. 1. See also Tim Winter, ‘Angkor Meets Tomb Raider: setting the scene’, International Journal of Heritage Studies , 8.4 (2002) 323-336 (p 323). See also p, 335-6. See also David Baker, ‘Contexts for Collaboration and Conflict’, in Managing Historic Sites and Buildings: Reconciling Presentation and Preservation , ed. by Gill Chitty and David Baker (London: Routledge, 1999) pp. 1-21 (p. 11). 32 Corey Charlton, But there was no lava at Pompeii! Horror of British Museum staff at factual inaccuracies in Ben Stiller's new Night at the Museum movie that was filmed at the site - as they issue guide to clarify facts for visitors (2014), https://www.dailymail.co.uk/news/article-2888317/But-no-lava- Pompeii-Horror-British-Museum-staff-factual-inaccuracies-new-Ben-Stiller-film-set-site.html [accessed 10 July 2023]. 33 Stephen W. Boyd and Dallen J. Timothy ‘Marketing Issues and World Heritage Sites’ in Managing World Heritage Sites , ed. by Anna Leask and Alan Fyall (Oxford: Butterworth-Heinemann, 2006), pp. 55-67 (p. 58-9). 34 Schiavone, p. 1109. 35 De Groot, p. 187. 36 De Groot, p. 150-1. See also p. 187. See also Reynolds, p. 52.
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