自2004 年以來，台灣各縣市積極推動影視觀光政策，成立電影委員會、協拍中心，並補助影視作品拍攝，以行銷境內景點。本文採取傳播批判觀點，提出「地點置入」的概念，分析這項政策為何是新型態的政府置入性行銷、其制度化的過程為何、對影視內容與產製又有何影響。研究發現，影視觀光政策是以付費方式交換場景的露出，以扶植影視產業為名，行城市行銷之實，短期雖可挹注資金活絡產業，但已影響影視作品的拍攝地點、場景、劇情與角色安排，干預創意表達、削弱作品的文化性。然而它以政府補助與協拍的名義包裝，而掩蓋了置入性行銷的本質。 Since 2004, local governments in Taiwan have aggressively initiated the so-called film tourism policy, setting up such agencies as film commissions and filmmaking assistance center and heavily funding media production, in order to promote tourist sites in the counties or municipalities. This article adopts the approach of critical studies in communication and proposes the concept of “place placement” to analyze why such policy is an emergent form of product placement, how it is institutionalized and what impacts it has on the content and production of subsidized films. The findings show that film tourism policy, aiming at city marketing rather than developing the media industries, is a paid form of product placement. It has influenced the shooting locations, scenes, plots and characters presented in media products. Despite the benefits of financial support, it also limits free expression of artistic creativity and cultural specification of films. However, such form of product placement is disguised with government funding and assistance.