「日滿親善」策略下李香蘭的崛起

中日戰爭時期，「株式会社満洲映画協会（満映）」以中國東北為基地，展開日本「映画國策」的宣教工作。除以東北「満映」為首，漸次在華北至華南占領區內併購壟斷電影產業，執行「大陸電影聯盟」的構念，推銷「日滿親善」與「五族協和」的宣教任務，「中聯電影」公司的成立，更是此一策略體現的成果。李香蘭透過「満映」的包裝，塑造為精通中、日語，才情兼具的滿洲姑娘。成為中、日、台等地的「親善大使」。因此，李香蘭這位「満映」的電影明星，終始都是「日滿親善」與「五族協和」任務的最佳樣板。本論文〈「日滿親善」策略下李香蘭的崛起〉，史料的運用上，參酌學者專著論述為主，配合一手史料與當時參與人員的口述自傳。分從「満映『日滿親善』的宣傳任務」、「日漢合作的『大陸電影聯盟』」、「李香蘭的崛起和身分的形塑」與「角色塑造詮釋『五族協和』」等論述主軸，探討日本壟斷中國影業的策略，與瞭解李香蘭宣傳樣板形塑的過程。

關鍵字

李香蘭；「映画國策」；日滿親善；「満映」；「中聯電影公司」

並列摘要

During Sino-Japanese War, the Japanese military based of ＂Manchurian Film Corporation＂ in the northeast of China to expand propaganda and indoctrination work by ＂National Policy Movie＂. In order to expand the ideological publicity by ＂Mainland Policy＂, ＂Manchurian Film Corporation＂ set up the film company in the occupied territories. It's the beginning of the expansion of the film industry by Japan in Chinese battlefield, and establishment of ＂Union Film Company＂ reflected the achievement of the Policy. Therefore, Lee Xiang-Lan, the movie star's rising and sharping of the ＂Manchurian Film Corporation＂ was conferred the task ＂Japanese Conciliate the Manchuria＂ and ＂Harmonious of Five Nationalities＂, and became benchmark of ＂National Policy Movie＂. It's studied in this paper that Japanese attempted to occupy Chinese movies assets and the process of sharping of benchmark of movie star Lee Xiang-Lan into five parts, ＂collaborative projects between Japan and China by Union Film Company＂, indoctrination task by Movie National Policy＂, ＂National Policy Movie by Manchurian Film Corporation＂, ＂the rising and sharping of Lee Xiang-Lan＂, and ＂Harmonious of Five Nationalities by role building＂. Historical data was applied in this paper to comprehend contents and application of Japanese National Policy Movie into three parts, review the paper of Japan, China and Taiwan scholars, autobiography and interview record of film practitioners at that time, and film journals about Japanese Mainland Policy.