This thesis examines the similarities and differences between northern and southern Chinese markets (in this case, the Beijing and Guangdong markets) in relation to New Zealand's destination image, from both visitors' and tour guides' perspectives. Destination image issues focused on information source and cultural factors, as well as their interrelationships. The purpose of this research is to achieve a better understanding of the Chinese outbound market as well as the heterogeneous market characteristics in order to provide insight for the New Zealand tourism industry. This research involves both interviews with visitors and tour guides based on a grounded theory methodology. Analysis of the interviews was based on two research themes: factors influence New Zealand's destination image at different stages, as well as the Chinese regional market difference in relation to destination image. Interviews were also focused on two stages of destination image formation: pre-visit images and in-destination images. Difference between Beijing and Guangdong markets on the research themes during the different stages were explored and analyzed. Research findings showed that destination image is influenced by both the information source and the cultural factors for Chinese tourists. Moreover, regional difference existed in China in particular their perceptions about New Zealand, preferences and personal values. Most tourists consider pre-visit image is essential; however, New Zealand's image in China was not very impressive and effective. Before visitation, New Zealand's destination image is influenced heavily by information available in China. The way tourists search for information and the image they were attracted for coming to New Zealand between Beijing and Guangdong were different. During-visit impressions of New Zealand were considered by majority of the tourists to be better than their expectations. However, due to their different cultural backgrounds, Beijing and Guangdong tourists have different reactions to New Zealand's products, which can be reflected through different shopping behaviours, and different demands and satisfaction levels. Overall, segmenting the Chinese outbound market into regions is recommended for future marketing, in order to attract more visitors by providing more suitable products.

China is rising rapidly as a new major source of outbound tourists in the world. The market potential is enormous. For New Zealand, the visitor numbers will jump to almost 160,000 within the following five years, making China one of New Zealand's biggest markets. Chinese outbound travel agencies play dominate role in operating and organizing international travel in China as outbound travel is highly controlled by the government and outbound agencies are the only group who are authorized to do international travel businesses. Therefore, it is imperative for the New Zealand tourism industry to understand the nature of the Chinese outbound travel agencies and the distribution system as it helps successfully market New Zealand in the Chinese market.This thesis explores the structure of distribution channels linking China and New Zealand and examines the performance of Chinese outbound travel agencies in conducting outbound travel to New Zealand in the Chinese market. The research studies the inter-dependent relationships and partnerships between outbound travel agencies and various channel members. It identifies the functions of channel members from each level in the distribution system and provides behavioural explanations for their distribution decisions. It also discusses the characteristics of the Chinese outbound market and Chinese travel preferences indirectly from tourism suppliers' perspetive aiming at providing a better understanding of the behavioural characteristics of Chinese outbound travel agencies and why the industry functions the way it does in the Chinese market.The research used qualitative research method in order to obtain an in-depth understanding into a wide range of issues in relation to the topic. In-depth semi-structured interviews were conducted to study the functions and performance of the outbound travel agencies as well as other channel members at every level both at the market and the destination. By examining the entire distribution system across national boundaries, this thesis seeks to expose multiplicities involved in the Chinese outbound travel and provide a systematic and comprehensive study.The research findings show that Chinese outbound travel agencies are the most influential member in the entire distribution system. They act as a bridge linking the Chinese market and the destination. They work with Chinese travel retailers by introducing a variety of international tour products and providing up-to-date information. They are highly dependent on inbound travel agents at the destination in terms of obtaining information and providing ground services. Limited number of outbound travel agencies makes them well positioned along the distribution system and gives them the advantage over other channel members. However, the Chinese outbound travel industry is immature and very price oriented. Due to the lack of destination information, price is considered as the most critical factor to make purchasing decision for both travel industry and the market. This feature was taken advantage by some overseas tour operators since they have been involved in selling below cost tour packages and low value trips. Many countries were facing this problem from the Chinese market. Moreover, New Zealand inbound tour operators were more satisfied with large travel agencies in China since they have reasonably good destination knowledge and better understanding of conducting business while the rest of the market was considered lack of sufficient information about the New Zealand products. Education and training programme are required in the Chinese market in order to improve the image of the destination and increase market share.

This thesis examines the similarities and differences between northern and southern Chinese markets (in this case, the Beijing and Guangdong markets) in relation to New Zealand's destination image, from both visitors' and tour guides' perspectives. Destination image issues focused on information source and cultural factors, as well as their interrelationships. The purpose of this research is to achieve a better understanding of the Chinese outbound market as well as the heterogeneous market characteristics in order to provide insight for the New Zealand tourism industry. This research involves both interviews with visitors and tour guides based on a grounded theory methodology. Analysis of the interviews was based on two research themes: factors influence New Zealand's destination image at different stages, as well as the Chinese regional market difference in relation to destination image. Interviews were also focused on two stages of destination image formation: pre-visit images and in-destination images. Difference between Beijing and Guangdong markets on the research themes during the different stages were explored and analyzed. Research findings showed that destination image is influenced by both the information source and the cultural factors for Chinese tourists. Moreover, regional difference existed in China in particular their perceptions about New Zealand, preferences and personal values. Most tourists consider pre-visit image is essential; however, New Zealand's image in China was not very impressive and effective. Before visitation, New Zealand's destination image is influenced heavily by information available in China. The way tourists search for information and the image they were attracted for coming to New Zealand between Beijing and Guangdong were different. During-visit impressions of New Zealand were considered by majority of the tourists to be better than their expectations. However, due to their different cultural backgrounds, Beijing and Guangdong tourists have different reactions to New Zealand's products, which can be reflected through different shopping behaviours, and different demands and satisfaction levels. Overall, segmenting the Chinese outbound market into regions is recommended for future marketing, in order to attract more visitors by providing more suitable products.

The main topic of my diploma thesis was a youth sector and its specific habits in tourism. The main objective was to evaluate the infrastructure and the specific forms of youth travel in New Zealand, followed by a product creation for the youth sector. In order to reach the main objective, the methods of analysis and comparative method were used; specifically the analysis of accommodation, transport, activities and comparison of findings in theoretical part of the thesis and practical part of the thesis. Furthermore, a potential for a development of specific forms of youth travel in New Zealand was analysed. The main findings was that New Zealand is highly recommended for the youth sector for its supply of accommodation, transport and activities for youth, as well as for its potential for a development of the specific forms of youth travel.

Transparencies: New Zealand from 1953 to 1974 through the Slide Photography of Gladys Cunningham This thesis focuses on the amateur slide photography of Gladys Cunningham, formerly of Onehunga, Auckland. Viewed collectively, these slides provide a visual autobiography of a New Zealand woman’s life, as well as a larger social narrative. As Gladys’s granddaughter, I argue that Gladys’s 35mm colour transparencies, nostalgic fragments that memorialise a family history, are informed by the social history of European New Zealanders between the early 1950s and early 1970s. Gladys’s slides reflect stabilities and changes for the photographer herself, her family and New Zealand society. While the term “transparency” suggests that the meaning of a slide can be understood by all, in reality further contextual information is necessary to appreciate the family and public histories from which these scenes have been separated. To situate Gladys’s slides, I refer to popular magazines and tourist texts from this period, including The Weekly News, National Geographic and New Zealand Holiday, and to commercial slides, postcards and travel marketing texts. I analyse the near absence of Maori within Gladys’s slides and travel journalism, suggesting that their omissions represent a lack of dialogue between Pakeha and Maori. In New Zealand and overseas, slide photography was the popular medium for recording extraordinary family events during the 1950 and 1960s. Through an analysis of memory, leisure and photography, this study examines how Gladys’s photography documents family and community membership and celebration. I explore how aesthetically pleasing representations of family leisure also contain partly concealed clues to less positive memories and to secrets that were not unique to this family. I discuss the impact of private and public transport on Gladys’s slide photography, noting how car travel facilitated spatial and temporal freedoms, and how slide photography strengthened connections to extended family and distant communities. In contrast, Gladys and Jim’s later dependence on coach transport enhanced their ability to take slides and expanded the “family” gaze of their camera, but limited their photographic opportunities.

Transparencies: New Zealand from 1953 to 1974 through the Slide Photography of Gladys Cunningham This thesis focuses on the amateur slide photography of Gladys Cunningham, formerly of Onehunga, Auckland. Viewed collectively, these slides provide a visual autobiography of a New Zealand woman’s life, as well as a larger social narrative. As Gladys’s granddaughter, I argue that Gladys’s 35mm colour transparencies, nostalgic fragments that memorialise a family history, are informed by the social history of European New Zealanders between the early 1950s and early 1970s. Gladys’s slides reflect stabilities and changes for the photographer herself, her family and New Zealand society. While the term “transparency” suggests that the meaning of a slide can be understood by all, in reality further contextual information is necessary to appreciate the family and public histories from which these scenes have been separated. To situate Gladys’s slides, I refer to popular magazines and tourist texts from this period, including The Weekly News, National Geographic and New Zealand Holiday, and to commercial slides, postcards and travel marketing texts. I analyse the near absence of Maori within Gladys’s slides and travel journalism, suggesting that their omissions represent a lack of dialogue between Pakeha and Maori. In New Zealand and overseas, slide photography was the popular medium for recording extraordinary family events during the 1950 and 1960s. Through an analysis of memory, leisure and photography, this study examines how Gladys’s photography documents family and community membership and celebration. I explore how aesthetically pleasing representations of family leisure also contain partly concealed clues to less positive memories and to secrets that were not unique to this family. I discuss the impact of private and public transport on Gladys’s slide photography, noting how car travel facilitated spatial and temporal freedoms, and how slide photography strengthened connections to extended family and distant communities. In contrast, Gladys and Jim’s later dependence on coach transport enhanced their ability to take slides and expanded the “family” gaze of their camera, but limited their photographic opportunities.

Transparencies: New Zealand from 1953 to 1974 through the Slide Photography of Gladys Cunningham This thesis focuses on the amateur slide photography of Gladys Cunningham, formerly of Onehunga, Auckland. Viewed collectively, these slides provide a visual autobiography of a New Zealand woman’s life, as well as a larger social narrative. As Gladys’s granddaughter, I argue that Gladys’s 35mm colour transparencies, nostalgic fragments that memorialise a family history, are informed by the social history of European New Zealanders between the early 1950s and early 1970s. Gladys’s slides reflect stabilities and changes for the photographer herself, her family and New Zealand society. While the term “transparency” suggests that the meaning of a slide can be understood by all, in reality further contextual information is necessary to appreciate the family and public histories from which these scenes have been separated. To situate Gladys’s slides, I refer to popular magazines and tourist texts from this period, including The Weekly News, National Geographic and New Zealand Holiday, and to commercial slides, postcards and travel marketing texts. I analyse the near absence of Maori within Gladys’s slides and travel journalism, suggesting that their omissions represent a lack of dialogue between Pakeha and Maori. In New Zealand and overseas, slide photography was the popular medium for recording extraordinary family events during the 1950 and 1960s. Through an analysis of memory, leisure and photography, this study examines how Gladys’s photography documents family and community membership and celebration. I explore how aesthetically pleasing representations of family leisure also contain partly concealed clues to less positive memories and to secrets that were not unique to this family. I discuss the impact of private and public transport on Gladys’s slide photography, noting how car travel facilitated spatial and temporal freedoms, and how slide photography strengthened connections to extended family and distant communities. In contrast, Gladys and Jim’s later dependence on coach transport enhanced their ability to take slides and expanded the “family” gaze of their camera, but limited their photographic opportunities.

Transparencies: New Zealand from 1953 to 1974 through the Slide Photography of Gladys Cunningham This thesis focuses on the amateur slide photography of Gladys Cunningham, formerly of Onehunga, Auckland. Viewed collectively, these slides provide a visual autobiography of a New Zealand woman’s life, as well as a larger social narrative. As Gladys’s granddaughter, I argue that Gladys’s 35mm colour transparencies, nostalgic fragments that memorialise a family history, are informed by the social history of European New Zealanders between the early 1950s and early 1970s. Gladys’s slides reflect stabilities and changes for the photographer herself, her family and New Zealand society. While the term “transparency” suggests that the meaning of a slide can be understood by all, in reality further contextual information is necessary to appreciate the family and public histories from which these scenes have been separated. To situate Gladys’s slides, I refer to popular magazines and tourist texts from this period, including The Weekly News, National Geographic and New Zealand Holiday, and to commercial slides, postcards and travel marketing texts. I analyse the near absence of Maori within Gladys’s slides and travel journalism, suggesting that their omissions represent a lack of dialogue between Pakeha and Maori. In New Zealand and overseas, slide photography was the popular medium for recording extraordinary family events during the 1950 and 1960s. Through an analysis of memory, leisure and photography, this study examines how Gladys’s photography documents family and community membership and celebration. I explore how aesthetically pleasing representations of family leisure also contain partly concealed clues to less positive memories and to secrets that were not unique to this family. I discuss the impact of private and public transport on Gladys’s slide photography, noting how car travel facilitated spatial and temporal freedoms, and how slide photography strengthened connections to extended family and distant communities. In contrast, Gladys and Jim’s later dependence on coach transport enhanced their ability to take slides and expanded the “family” gaze of their camera, but limited their photographic opportunities.

Transparencies: New Zealand from 1953 to 1974 through the Slide Photography of Gladys Cunningham This thesis focuses on the amateur slide photography of Gladys Cunningham, formerly of Onehunga, Auckland. Viewed collectively, these slides provide a visual autobiography of a New Zealand woman’s life, as well as a larger social narrative. As Gladys’s granddaughter, I argue that Gladys’s 35mm colour transparencies, nostalgic fragments that memorialise a family history, are informed by the social history of European New Zealanders between the early 1950s and early 1970s. Gladys’s slides reflect stabilities and changes for the photographer herself, her family and New Zealand society. While the term “transparency” suggests that the meaning of a slide can be understood by all, in reality further contextual information is necessary to appreciate the family and public histories from which these scenes have been separated. To situate Gladys’s slides, I refer to popular magazines and tourist texts from this period, including The Weekly News, National Geographic and New Zealand Holiday, and to commercial slides, postcards and travel marketing texts. I analyse the near absence of Maori within Gladys’s slides and travel journalism, suggesting that their omissions represent a lack of dialogue between Pakeha and Maori. In New Zealand and overseas, slide photography was the popular medium for recording extraordinary family events during the 1950 and 1960s. Through an analysis of memory, leisure and photography, this study examines how Gladys’s photography documents family and community membership and celebration. I explore how aesthetically pleasing representations of family leisure also contain partly concealed clues to less positive memories and to secrets that were not unique to this family. I discuss the impact of private and public transport on Gladys’s slide photography, noting how car travel facilitated spatial and temporal freedoms, and how slide photography strengthened connections to extended family and distant communities. In contrast, Gladys and Jim’s later dependence on coach transport enhanced their ability to take slides and expanded the “family” gaze of their camera, but limited their photographic opportunities.

Transparencies: New Zealand from 1953 to 1974 through the Slide Photography of Gladys Cunningham This thesis focuses on the amateur slide photography of Gladys Cunningham, formerly of Onehunga, Auckland. Viewed collectively, these slides provide a visual autobiography of a New Zealand woman’s life, as well as a larger social narrative. As Gladys’s granddaughter, I argue that Gladys’s 35mm colour transparencies, nostalgic fragments that memorialise a family history, are informed by the social history of European New Zealanders between the early 1950s and early 1970s. Gladys’s slides reflect stabilities and changes for the photographer herself, her family and New Zealand society. While the term “transparency” suggests that the meaning of a slide can be understood by all, in reality further contextual information is necessary to appreciate the family and public histories from which these scenes have been separated. To situate Gladys’s slides, I refer to popular magazines and tourist texts from this period, including The Weekly News, National Geographic and New Zealand Holiday, and to commercial slides, postcards and travel marketing texts. I analyse the near absence of Maori within Gladys’s slides and travel journalism, suggesting that their omissions represent a lack of dialogue between Pakeha and Maori. In New Zealand and overseas, slide photography was the popular medium for recording extraordinary family events during the 1950 and 1960s. Through an analysis of memory, leisure and photography, this study examines how Gladys’s photography documents family and community membership and celebration. I explore how aesthetically pleasing representations of family leisure also contain partly concealed clues to less positive memories and to secrets that were not unique to this family. I discuss the impact of private and public transport on Gladys’s slide photography, noting how car travel facilitated spatial and temporal freedoms, and how slide photography strengthened connections to extended family and distant communities. In contrast, Gladys and Jim’s later dependence on coach transport enhanced their ability to take slides and expanded the “family” gaze of their camera, but limited their photographic opportunities.