探索戰後閩南語戲曲與電影結合的機遇與興衰

第二次世界戰結束後，在中國大陸境外的香港與臺灣興起了三種閩南語戲曲與電影結合的電影類型，然而這三類電影從崛起到沒落的榮景都僅維持約十年左右。此一短期由盛而衰的文化現象，既是東西兩種文化形式交融的機遇，也交摻戰後中、港、臺與東南亞區域政治、經濟與的互動等諸多問題。本文將先探討「閩南語戲劇文化圈」數百年的形成與質變，其次敘述二十世紀港台兩地的電影與三種閩南語戲曲跨媒介結合的契機與興衰，之後討論戰後外在政治、經濟對這類電影的作用，探究1950年代到60年代閩南戲曲與電影的結合、傳播以及三者堪稱「短暫」的文化現象。

關鍵字

閩南語戲曲；戲曲電影；廈語片；潮語戲曲片；歌仔戲電影

並列摘要

After the end of the Second World War, three types of films combining Hokkien Xiqu and movies emerged in Hong Kong and Taiwan outside mainland China. However, the prosperity of these three types of films from the rise to the decline only lasted about ten years. This short-term cultural phenomenon of prosperity and decline is not only an opportunity for the integration of the two cultural forms of the East and the West but also many problems such as the interaction of politics, economy, and post-war China, Hong Kong, Taiwan, and Southeast Asia. This article will first discuss the formation and qualitative change of the "Hokkien drama cultural circle" over the centuries, and then describe the opportunities and rise and fall of the cross-media combination of films from Hong Kong and Taiwan in the 20th century and the three Hokkien Xiqu, and then discuss the post-war external politics. , The role of the economy in such films, exploring the combination and dissemination of Southern Fujian opera and film, and the three cultural phenomena that can be called "ephemeral" from the 1950s to the 1960s.