ABSTRACT Since the beginning of the Twentieth Century tourism films have constituted a significant part of New Zealand film production. In fact, films made and/or used for tourism promotion have been released for domestic and overseas circulation by both government-led and private film production companies. Over the last 10 years the institutions in charge of Wellington tourism marketing have been increasingly relying on social media platforms such as Youtube and Facebook to globally circulate images of New Zealand’s capital city. Indeed, since 2007, 20 tourism marketing campaigns conceived for social media circulation featured in WellingtonNZ Youtube channel. This article will focus on three of these campaigns: the Vampire’s Guide to Vellington (2014); the It’s Never Just a Weekend When It’s in Wellington series (2014) and the LookSee series (2017). Through the analysis of these case studies, this article argues that contemporary Wellington tourism film production is a complex and multilayered process characterised by the cross-collaboration between local political stakeholders, local creatives and local businesses. Moreover, it highlights how the representation of Wellington as a cinematic and creative city, home of a globalised creative class has been informed by the neoliberal paradigm and by the persistence of a deeply-rooted settler gaze.

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“卖创意城市”：新自由主义时代的惠灵顿旅游电影

摘要自20世纪初以来，旅游电影已成为新西兰电影制作的重要组成部分。实际上，政府主导的和私人的电影制作公司已经将制作和/或用于旅游宣传的电影发行给国内外发行。在过去的十年中，负责惠灵顿旅游营销的机构越来越依赖社交媒体平台（如Youtube和Facebook）在全球范围内传播新西兰首都的图像。实际上，自2007年以来，惠灵顿NZ Youtube频道推出了20项针对社交媒体传播的旅游营销活动。本文将重点介绍以下三个活动：《吸血鬼威灵顿指南》（2014）；惠灵顿系列（2014年）和LookSee系列（2017年）中的周末 通过对这些案例研究的分析，本文认为当代惠灵顿旅游电影的生产是一个复杂而多层的过程，其特征是地方政治利益相关者，地方创意者和地方企业之间的交叉合作。此外，它强调了新自由主义范式和根深蒂固的定居者凝视如何使惠灵顿成为电影和创意城市，全球化创意阶层的所在地。本地广告素材和本地业务。此外，它强调了新自由主义范式和根深蒂固的定居者的坚持如何使惠灵顿成为电影和创意城市，全球化创意阶层的所在地。本地广告素材和本地业务。此外，它强调了新自由主义范式和根深蒂固的定居者的坚持如何使惠灵顿成为电影和创意城市，全球化创意阶层的所在地。