ABSTRACT

This article analyses the development of Wellington tourism film from 1991 to 2008, release years of Absolutely Positively Wellington and Spoil Yourself in Wellington TV commercials, respectively. While performing the textual analysis of five case studies released for domestic TV circulation, it examines their underlying tourism marketing and place-branding dynamics in the broader context of the political, institutional and cultural transformations that marked New Zealand and its capital city from the late 1980s onward. Such political and social context, characterised by the privatisation and sale of public assets and businesses, the transformation of public institutions into profit-driven corporations and the closure or downsizing of government departments and government-led institutions, coincided with the reorganisation of Wellington's economic, institutional and social assets, with the reshaping of the city's identity and with the redefinition of local tourism marketing strategies. This article argues that Wellington tourism film's institutional background started to be increasingly characterised by a process of growing and deepened interaction and partnership between local tourism bodies, creative agencies and private stakeholders. It also intends to trace the succession of different but interconnected urban narratives that informed local tourism film production, before the contemporary narratives about Wellington as a ‘creative city’ took hold.

摘要

本文分析了惠灵顿旅游电影从1991年到2008年的发展历程，以及《绝对积极惠灵顿》和《宠爱惠灵顿》的上映年份分别是电视广告。在对为国内电视发行发布的五个案例研究进行文本分析时，它在 1980 年代后期标志着新西兰及其首都的政治、制度和文化变革的更广泛背景下，审视了它们潜在的旅游营销和地方品牌动态向前。这种政治和社会背景，以公共资产和企业的私有化和出售、公共机构向营利性公司的转变以及政府部门和政府主导机构的关闭或缩小为特征，恰逢惠灵顿的经济重组，机构和社会资产，随着城市身份的重塑和当地旅游营销策略的重新定义。本文认为，惠灵顿旅游电影的制度背景开始越来越具有当地旅游机构、创意机构和私人利益相关者之间不断发展和深化的互动与伙伴关系的特征。它还打算追溯在关于惠灵顿作为“创意城市”的当代叙事站稳脚跟之前，为当地旅游电影制作提供信息的不同但相互关联的城市叙事的延续。