中文摘要：

作为电影产业与旅游产业相互融合的产物，电影旅游受到越来越多国家和地区的重视。本文在分析国内电影旅游发展的现状问题的基础上，通过对电影旅游的内涵和类型进行辨析，指出电影产业与旅游产业的深度融合是影响电影旅游发展的关键。通过分析产业集群的内涵与组织成因，指出我国影视基地和影视城等电影旅游地理集聚体存在的产品多样化不足是影响集群网络形成的原因。电影旅游产品的多样性主要体现在文化多样性上，而文化空间就成为电影旅游集群发展的重要维度。通过对文化空间的相关研究成果进行分析，指出文化空间超越了地理空间与产业空间的限制，具有开放性和动态性特征，在生产文化产品的同时，也不断生产着新的文化空间。电影旅游集群的文化空间生产需要建立政府、企业和社会的互动机制，这是电影旅游集群进行文化空间生产的关键，也是电影旅游可持续发展的保证。

英文摘要：

t： In China, more and more Film and TV Base and Cities were established as key components in the development of cultural industries. Their similar positioning and homogenous products led to unsuccessful economic performance. The primary focus of this article is to provide an insight into the development mechanism of film tourism. The concepts of film tourism and filmnduced tourism are compared to highlight the importance of the convergence and interaction between film industry and tourism industry to the development of film tourism. The classification of film tourism is conducted and the geographical agglomeration is regarded as the current main method to develop the film tourism. Compared with the successful film tourism clusters in the world, most Chinese film tourism geographical agglomerations are lack of industrial extension capabilities and cultural appeals. The study on the relationship between cost and product diversity shows that the higher diversity may lead to the higher possibility of market transaction and cooperation. Hence high product diversity plays an important role in the establishment of network clustering and has important implications to policies and strategies. The diversity of film tourism products is mainly in the cultural dimension which requires attention to the cultural space. The theoretical thoughts and concept of cultural space then are reviewed. The cultural space is put forward as the key development dimension to the differentiation advantage of film tourism clusters as it consists of special cultural meanings of one specific country or region. The interaction mechanism among governments, companies and societies should be established to ensure the production of cultural space and the sustainable development of film tourism. Government policies should support the market-oriented projects and help to create a boundaryless environment for the film tourism cluster- ing. Big companies and small-and-medium-sized ones should be included in film tourism industry and cooperate with each