自2000年「韓流」席捲整個亞洲之後，電影製作/影視製作就成為熱門的城市行銷手法，透過電影拍攝，不但可以將城市意象傳播至世界，也可以提升地方產業的發展。在這樣的潮流下，臺中市政府更邀請李安導演及國際劇組來臺拍攝「少年PI的奇幻漂流」，透過影片的拍攝及播送進一步行銷城市。然而，一般討論電影製作以及城市行銷間的關係時，多數會將焦點放在「影視觀光」以及「地方行銷」上；而「少年PI的奇幻漂流」這樣一部在臺中拍攝但完全沒有任何臺中場景的電影，卻讓臺中市與這部電影產生了緊密的聯結，也在李安導演獲獎無數後，讓臺中受到了許多國際媒體的關注。簡而言之，「少年PI的奇幻漂流」是一個不靠電影場景置入而成功達到城市行銷目標的個案，但臺中市政府如何透過鼓勵影視產業發展達成城市行銷目的？本研究即著重於探討臺中市政府在此個案上所採取的各項策略。 / Since 2000, the craze of “Korean Wave” has overwhelmingly swept across Asia, filmmaking became a popular city marketing approach to broadcast and transmit the city image to the world, also to promote the local industry development. Following this trend, Taichung City Government seized the opportunity to invite and cooperate with Ang Lee and the production group of “Life of Pi” since 2010 to 2013 to market the city. However, when discussing promoting filming activities as one of the strategies to reach the city marketing goal, most of the perspectives and literatures were focusing on film tourism or place marketing. That means, most of the city marketers focus more on whether the sceneries of the target city are broadcasting through the films or not. By contract, “Life of Pi” is the film which produced and shoot in Taichung but none of the sceneries from Taichung City were disclosed in the story. Nevertheless, the film and Ang Lee had indeed linked the international media exposure and attention to Taichung City while they won numbers of film awards included the Academy Awards. To put it more specifically, this is the case which successfully reached the city marketing goal without manipulating any “product-placement” strategy. But what did the city government do to reach the goal? This research aims at analyzing the strategies which Taichung City Government took by coordinating and supporting “Life of Pi” to reach the city marketing goal.