本研究的背景與動機源自於近年的哈利波特熱潮，以及電影觀光在哈利波特多元文化現象中所位居的重要地位，綜觀國內哈利波特的相關研究尚未以觀光面向深究其對觀光層面所促成的影響。故本研究以哈利波特的電影觀光作為個案探討，剖析哈利波特電影所引發的英國電影景點生產、台灣與英國的雙重旅遊中介、台灣觀光客的魔幻凝視此一完整的觀光脈絡，期望在哈利波特現象與電影觀光的相關研究上做出具體的貢獻。
在台灣觀光客的魔幻凝視層面，特別發現遊客除了望見所望之外，更由內再建構了魔幻想像，促使空間如同中介迷離般於真實與虛擬間流動著，重要的是藉由遊客的魔幻凝視進而豐富了該地的空間意義。
於研究方法的部分取用文獻分析與深度訪談，並佐以電影觀光論述、符號學、文化展演、詮釋循環、觀光客的凝視、真實性將研究分四個層次探討：第一，自拍攝背景了解其藉由實地取景將故事塑造出立體真實感，使故事走入地景，觀光景點的前身因此成形。第二，英國景點運用象徵哈利波特符號的標示物(如:劇照、告示牌、道具模型等)，鋪陳了文化與創意想像，將空間轉變成一會說話的環境；且因魔法的展演使得想像、地方、英國文化彼此構連，重構了地方的空間意義。第三，台灣與英國的旅遊中介者促成哈利波特地標的社會建構，吸引了遊客前往該地蒐集地景，同時遊客也經由照片與部落格的紀錄再現了地標。第四，當台灣遊客凝視哈利波特景點時，透過解碼景點標示物，進而幻想故事情節獲得魔法的快感，以滿足自身的欲望；並將自我認同成魔法主角，經由心靈模擬去扮演他者，而形成了自戀的愉悅。而哈利波特故事及其觀光雖是立基於虛擬陳述之上，但由於遊客願意接受與相信這個故事，透過其實際的體驗與展演魔法後反而形成了觀光客的存在真實。

The motivation of this research derives from the increasing importance of Harry Potter in recent years, as well as the critical role of film tourism in Harry Potter multicultural phenomenon. With a relevant review on Harry Potter, there are no domestic studies focused on its effect upon tourism from the perspective of tourism. Hence, Harry Potter related film tourism is chosen as a case study in this research. This study examines the tourism context from producing film attractions in the United Kingdom triggered by Harry Potter films, the travel intermediaries from Taiwan and the United Kingdom both constructed the fantasy gaze of Taiwanese tourists.
In particular, the part of fantasy gaze focuses on that tourists slip between the actuality and virtuality in the Harry Potter attractions, and the locations function as liminal spaces. The most important is that the fantasy gaze can be attributed to the multiplicity of places.
Documentary analysis and in-depth interviews are adopted, drawing upon theories of film tourism and semiotics, culture on display, hermeneutic circle, tourist gaze, and authenticity. This research is divided into four parts: Firstly, the fictitious story becomes three-dimensional and authentic by location shooting. Because of location shooting, a flat story can possess specific landscapes and a predecessor of attraction can be shaped. Second, based on the producing attractions in the United Kingdom, I explore the local attractions using Harry Potter markers turn the space into a talking environment, and make the actual attractions can lay out a virtual magic imagination. The magic displays have reshaped the local landscape and connected with imagination, sight, culture. Third, travel intermediaries in Taiwan and the United Kingdom contribute to social construction of the Harry Potter landmarks, attracting tourists to collect these landmarks, and furthermore the photos and blogs from tourists represent the landscape as well. Forth, when Taiwanese tourists visit Harry Potter attractions, they have special fantasy gaze and performances. In addition to gazing on the actual attractions, the virtual film scenes tend to emerge from tourist’s mind. They also mentally and bodily simulate the movie characters. By this way, tourists can get magic pleasure and fulfill their desire. Although Harry Potter stories and tourism base on a virtual context, tourists are still willing to accept and believe this story. Nothing is real except what the tourists believe. Through the actual tourist experience and magic display, authenticity can exist in the Harry Potter tour.

洪凌(譯)(1998)。擬仿物與擬像。台北：時報。(Jean Baudrillard, 1981)。
劉成富、全志鋼(譯)(2012)。消費社會。南京：南京大學。(Jean Baudrillard, 1970)。
葉浩(譯)(2007)。觀光客的凝視。臺北:書林。(John Urry, 2002)。
馮悅(譯)(2012)。被展示的文化-當代可參觀性的生產。北京:北京大學。(Bella Dicks, 2004)。
劉以德(審譯)(2010)。文化觀光：觀光與文化遺產管理。台北：桂魯。（B. McKercher, B.＆ H. du Cros, 2002）。
劉建基(譯)(2001)。關鍵詞：文化與社會的詞彙。北京：三聯書局。（R. Williams, 1985）。
張曉萍(譯)(2008)。旅遊者：休閒階層新論。廣西：廣西師範大學。(D. MacCannell, 1976)。
喬江濤(譯)(2006)。迪斯尼風暴。北京：中信出版社。(Alan Bryman, 1999)。
李陽(譯)(2005)。哈利波特的品牌魔法Wizard!。香港：三聯書局。(Stephen Brown, 2005)。
王國強(譯) (2006)。視覺研究導論：影像的思考。台北：群學。(Gillian Rose, 2001)。
王志弘、余佳玲、方淑惠(譯)(2003)。文化地理學。台北：巨流。(Mike Crang, 1998)。
李文彬(譯) (1973)。小說面面觀。台北：志文。(Edward Morgan Forster, 1927)。
李顯立(譯)(1999)。電影敘事:劇情片中的敘述活動。(David Bordwell, 1985)。
社團法人台灣女性影像學會(2006)。女性。影像。書。台北:書林。
古佳豔(主編)(2013)。兒童文學新視界。台北:書林。
植木七瀨(2003)。哈利波特魔法之旅-前往英國旅營必備的24種魔法。台北:尖端。
李蕙蓁、謝統勝(2008)。不列顛．旅人。台北：時報。
蕭立馨(2012)。穿越9又3/4月台，漫遊英國。台北：華成圖書。
花建(2006)。文化+創意=財富。中國大陸：帝國文化。
歐用生(1989)。質的研究。台北市：師大書苑。
夏鑄九、王志弘(2009)(編譯)。空間的文化形式與社會理論讀本。台北:明文書局。
石義彬(2003) 。單向度‧超真實‧內爆—批判視野中的當代傳播思想研究。武昌：
武漢大學。
白蕙捷(2003)。電影觀賞者之目的地熟悉度、目的地意象與旅遊意願關係之研究
(碩士論文，淡江大學，2003)。全國博碩士論文資訊網。
林秉硯(2009)。影視觀光客之熟悉度、目的地意象與旅遊動機之研究(碩士論文，
中華大學，2009)。全國博碩士論文資訊網。
林沛蓁(2010)。遊走〈色，戒〉的文字與聲影-從張愛玲原著到李安改編(碩士論文，中央大學，2010)。全國博碩士論文資訊網。
陳心儀(2008)。 從「哈利波特現象」論媒介建構與文化商品消費(碩士論文，東華大學，2008)。全國博碩士論文資訊網。
陳瑾瑜(2010)。英國Battle遺產觀光符號的建構與展演(碩士論文，台灣師範大學，2010)。全國博碩士論文資訊網。
廖家瑜(2006)。韓劇在觀光上的媒體效應(碩士論文，靜宜大學，2006)。全國博碩士論文資訊網。
張郁英(2010)。電影觀光對觀光發展之影響-以悲情城市與海角七號為例(碩士論
文，靜宜大學，2010)。全國博碩士論文資訊網。
黃家珊(2009)。照片、背包客、京都－台灣背包客在京都的影像再現(碩士論文，
嘉義大學，2009)。全國博碩士論文資訊網。
黃雅惠(2010)。文學觀光意象的探討：英國莎翁故居之個案研究(碩士論文，
台灣師範大學，2010)。全國博碩士論文資訊網。
賴彥均(2007)。紀念品：旅遊回憶的保存與觸發(碩士論文，交通大學，2007)。全國博碩士論文資訊網。
潘立銘(2012)。《蘭花賊》從小說到電影：論改編電影的互文性、作者論與製作模式(碩士論文，台灣藝術大學，2012)。全國博碩士論文資訊網。
賴維菁(2013)。兔子、魔法、音樂隊:跟著童話與幻奇去旅行。兒童文學新視界，197-198。
賴維菁與呂孟娟(2005)。檢視臺灣青少年的哈利波特現象。師大學報，50:2，47-67。
林文淇(2011)。淺談1960年代後台灣電影改編小說現象。放映週報，第310期。
榮芳杰(2008)。從海角七號到哈利波特魔法學校：文化遺產與大眾媒體的置入
式行銷。當季話題，14-18。
李君如(2010)。旅遊的想像與真實--從遊客經驗解讀媒體建構的地方意象。島嶼
觀光研究，第二期。
林怡貞(2009)。人文之都電影綻風華。7-WATCH情報誌，第91期，10-11。
紐約時報(2000) 。哈利波特作者火車之旅會書迷，聯合報，10版，7月11日。
陸绮雯(2005)。哈利波特之魔法生意經，中國解放日報， 7月25號。
吳永久(2011)。哈利波特持續走紅的商業智慧，中國企業家雜誌， 9月1日。
黃國蓉(2011)。哈利波特的魔法生意經，Cheers雜誌， 8月。
Alnwick Castle.(2013). Battleaxe to Broomsticks Tour. Retrieved May 8 , 2013 from the World Wide Web:
http://www.alnwickcastle.com/events/48/battleaxe-to-broomsticks-tour
Bassett, K. (1993). Urban cultural strategies and urban regeneration: A case study and critique. Environment and planning, 25, 1773-1788.
Baudrillard, Jean(1998) The Concumer Society:Myths and Stuctures, trans. Chris Turner. London: Sage.
Bauman, R.(1975). Verbal art as performance. American Anthropology, 77,290－311. (1992) Performance. In R. Bauman（Ed.）, Folklore, cultural performance and popular entainment（pp. 41－49）. Oxford, England：Oxford University Press.
BBC. (2008, May). Gloucester's Harry Potter trail in detail. Retrieved May 8, 2013 from World Wide Web:
http://www.bbc.co.uk/gloucestershire/focus/2003/08/potter_more_info.shtml
BBC. (2012, March 25). Harry Potter fans boost Oxford Christ Church Cathedral. Retrieved May 8, 2013 from World Wide Web:
http://www.bbc.co.uk/news/uk-england-oxfordshire-17434129
BBC.(2001). Harry Potter and Me. BBC Production[Film].
Busby, G, & Klug, J.(2001). Movie induced tourism: the challenge of measurement and other issues. Journal of Vacation Marketing, 7(4), 316-332.
Buchmann, A., Moore, K., and Fisher, D. (2010). Experiencing film tourism: authenticity& fellowship. Annals of Tourism Research, 37(1), 229–248.
Brain Attebery (1992). Strategies of Fantasy. Bloomington: IndianaUniversity.
Boris Johnson.(2013). Telegraph. Retrieved June 7, 2010 from the World Wide Web: http://www.telegraph.co.uk/culture/harry-potter/7807589/Now-heres-a-wizard-idea.-Why-not-bring-Harry-Potter-home.html
Couldry, N.,& McCarthy, A.(2004). Introduction. In N. Couldry, & McCarthy, A.(Eds.), MediaSpace: Place, Scale and Culture (pp.1-18). London: Routledge.
Cowie, E. (1990) “Fantasia”, in P. Adams and E. Cowie(eds), The Woman in Question: m/f. London: Verso, pp.149-96.
Christ Church College. (2011). Harry Potter. Retrieved May 8, 2013 from World Wide Web: http://www.chch.ox.ac.uk/visiting/harry-potter
De Certeay, Michel(1986). Heterologies: Discourse on the Other, trans. Brian Massumi. Manchester: Manchester University Press.
Evans, M. (1997). Plugging into TV tourism. London Tourist Board, D35-D38.
Edensor, T.(2001). Staging tourism：Tourists as performers. Annals of Tourism Research, 27(2).
Edensor, Tim.（1998）Tourists at the Taj: Performance and Meaning at a Symbolic Site. NY: Routledge.
Eco, U.(1986). Travels in Hyper-Reality. London:Picador.
Gordon, B.(1986). The souvenir: Messenger of the extraordinary. Journal of
Popular Culture, 20(3).
Herbert, D. T. (2001). Literary places, tourism and the heritage experience. Annals of tourism research, 28, 312-333.
Herbert, D. T. (1995). Heritage as literary place. In Herbert, D. T. (Ed.), Heritage tourism and society(pp.32-48). Mansell Publishing: London.
Higson,A. (2003). English Heritage, English Cinema: Costume Drama Since 1980. Oxford:Oxford University Press.
Hewison, R.(1989). The Heritage Industry: Britain in a Climate of Decline. London: Methuen.
Hunt, Peter.(2003). Children’s Literature. London: Blackwell, 2011.Print. Introduction: Fantasy and Alternative Worlds. Alternative Worlds in Fantasy Fiction. By Hunt and Millicent Lenz. 2nd ed. London: Continuum, 2003.1-41.
Hutcheon, L.(2006). A Theory of Adaptation. New York and London:Routledge.
Harmon, M.B.(2003). The magic of England: following in HARRY Potter’s footsteps,
Biography, 7(9).
Iwashita Chieko (2006). Media representation of the UK as a destination for Japanese tourists. Tourist Studies, 6(1) , 59-74.
Lash, S., & Urry, J.(1994). Economies of sign and space. London, England：Sage.
Lowenthal, D.(1985/2006). The Past is a foreign country. Cambridge, England: Cambridge University Press.
Lee Christina.(2012). Have Magic, Will Travel: Tourism and Harry Potter's United (Magical) Kingdom. Tourist Studies, 12(1), 52-69.
Lewis, C.S(1973). On Three Ways of Writing for Children. Children and Literature: Views and Reviews. Ed. Virginia Haviland. Glenview: Scott, 231-240.
MacCannell, D. (1999). The tourist : a new theory of the leisure class. New York: Schocken（orig. 1976）
MacCannell, D. (1973). Stage Authenticity: Arrangements of Social Space in Tourist Setting. American Journal of Society, 79(3), 589-603
MacCannell, D. (2001).Tourist agency. Tourism Studies, 1:23-38.
Mulvey, K.(1989) Visual and Other Pleasure. London: Macmillan.
McCabe, B.(2011). Harry Potter Page to Screen: The Complete Filmmaking Journey. New York: Harper Design Intl
Olsberg|SPI .(2007). Stately Attraction-How film and television programmes promote tourism in the UK.
Riley, R, Baker, D., & Van Doren, C.S.(1998). Movie induced tourism. Annals of Tourism Research, 25(4), 919-935.
Riley, R. W., & Van Doren,C.(1992). Movie as tourism promotion. Tourism Management, 13(3), 267-274.
Reijnders,S(2011). Stalking the Count: Dracula, Fandom and Tourism. Annals of tourism Research, 38(1), 231-48.
Rojek, C. (1997). Indexing, Dragging and the Social Construction of Tourist Sights. In C. Rojek and J. Urry (Eds.) ,Touring Cultures(pp. 52–74). London: Routledge.
Roesch, S. (2009). The Experiences of Film Location Tourists. Bristol: Channel View Publications.
Richards, G. & Palmer R. (2010). Eventful cities: Cultural management and urban revitalization. Amsterdam, Netherlands: Elsevier.
Sarah Gibson.(2006). A seat with a view: Tourism, (im)mobility and the cinematic-travel glance. Tourist Studies, 6(2), 157-178.
Sargeant, A.(2000). Making and Selling Heritage Culture. In J. Ashby and A. Higson(Eds), British cinema past and present(pp.285-361). London: George Allen.
Schama, S.(1996). Landscape and Memory. London: Fontana Press.
Street, S. (1997). British National Cinema. London: Routledge.
Street, S. (2002). Transatlantic Crossings: British Feature Films in the USA. London:
Continuum.
Smith, M. (2003). Issues in cultural tourism studies. London :Routledge.
Squire, S. J. (1996). Literary tourism and sustainable tourism: promoting Anne of
Green Gables in Prince Edward Island. Journal of Sustainable Tourism, 4(3),
119-134.
Sibley, B. (2010). Harry Potter Film Wizardry: From the Creative Team Behind the Celebrated Movie Series. New York: Harper Design Intl
Turner, V. (1967). The Forest of Symbols: Aspects of Ndembu Ritual. Ithaca: Cornell
University Press.
Tzanelli, R.(2004). Constructing the cinematic tourist: the sign industry of the Lord of the rings. Tourist Studies, 4, 21-42.
Torchin, L. (2002). Location, Location, Location: The Destination of the Manhattan TV Tour, Tourist Studies 2(3): 247–66.
Tolkien, J.R.R.(1989). On Fairy-Stories. Tree and Leaf. Boston: Houghton, 9-73.
The Jacobite. (2013). Coaches. Retrieved May 8, 2013 from the World Wide Web: http://www.westcoastrailways.co.uk/jacobite/loco.html
The elephant house. (2013). The elephant house:Homepage. Retrieved May 8, 2013 from the World Wide Web: http://www.elephanthouse.biz/
Urry, J.(1995). Consuming places. London, England: Routledge.
Urry, J.(2000). Sociology beyond societies: Mobilities for the twenty-first century. London: Routledge.
Visit Britain.(2010). Britain on film. Retrieved May 8, 2013 from the World Wide
Web:http://www.visitbritain.com/en/Things-to-do/Culture/Britain-on-film.htm
Wang, N. (1999). Rethinking authenticity in tourism experience. Annals of Tourism
Research, 26(2), 349-370.
Warner Bros. Studio Tour London.(2013). Warner Bros. Studio Tour London Homepage. Retrieved May 8, 2013 from the World Wide Web: http://www.wbstudiotour.co.uk/
William Tourist Information Centre.(2013). Jacobite Steam Train. Retrieved May 8, 2013 from the World Wide Web: http://www.ukattraction.com/highlands/jacobite-steam-train.htm