日治時期國策電影《莎韻之鐘》之歌曲與配樂

Abstract

電影《莎韻之鐘》是日治時期一部以泰雅族事件為背景而拍攝的電影，1943年起陸續在日本、臺灣、中國上映。許多人稱其為一部國策電影，其也是日治時期少數日本拍攝與臺灣原住民有關之有聲劇情片。此外，這部電影的女主角是由當時在日本、臺灣及中國都相當知名的演員李香蘭所擔任；音樂的負責者也是由當時在日本有名的流行歌作曲家古賀政男所擔任。具有如此重要性的電影，過去研究多著重在分析這部電影的劇情、歷史部份等，而關於《莎韻之鐘》這部電影音樂的研究，多是探討其中主題曲在臺灣各個時代的流傳，或者主題曲的各個版本的比較，較沒有針對這部電影的音樂做一全面的深入分析。 故本論文將著重分析這部電影的音樂，將探討三個層面的問題，一為這部電影具有何種國策精神；二為在此國策精神之下，電影中的音樂有什麼功能；三為在這部電影的宣傳與接受面，音樂從中扮演什麼角色。期望藉由分析這部電影，提供後人了解日治時期電影音樂的一個管道。

The film Sayon no Kane was shot based on Taiwanese aborigines─Atayal’s event during the Japanese colonial period. It was released in Japan, Taiwan, and China from 1943. Many people called it as a national policy film. It is one of the few sound films about Taiwanese aborigines at that time. Moreover, the leading actress, Ri Koran, was famous in Japan, Taiwan and China at that time. The music of the film was composed by the leading Japanese pop song composer Masao Koga. Therefore, the film seems to an important film at that time, even today. In the past, many scholars studied this film mostly on its story line and historical context, and on the subsequent cover versions of its theme song. There have not been in-depth studies on the music of the film. Therefore, the thesis will focus on analyze the music of the film. It will explore three issues. The first is what kind of national policy spirit the film has. The second is what function the music has in this film under the national policy spirit. The third is what role the music plays in advertising and audience acceptance process. I wish the thesis will offer a way to someone who wants to understand the film music in the Japanese colonial period.