山林百態：戰後臺灣林場電影及其政治生態學

Abstract

本文以1950-1980年代臺灣「林場電影」為文本，研究其中的自然景觀與鐵道、溜索等山地交通影像，同時參照臺灣電影史與林業發展史，分析以森林伐木場為拍攝地的劇情片，在當時有何特殊性，進而延伸探討其中反映出的生態觀與政治性。從日治時期到國民政府遷臺，林場長期作為政府掌控林業資源的地點，因此片中主張的生態觀念、林業鐵道的象徵意義，乃至於大部分被愛情故事包裹的劇情線等等，皆與臺灣的經濟發展和政權轉換息息相關。 從宣傳環保造林的教育片《翠嶺長春》（1958）出發，到成為偶像明星戀愛與抗日舞台的《密密相思林》（1978）與《春寒》（1979），最後止於林場沒落關閉的《霧裡的笛聲》（1984）。本文主張，上述作品的自然景觀與山地交通影像變化，除了體現臺灣對於山林環保意識的進程，也是政策、電影明星、編劇和導演於各個年代中多方角力的結果。藉由橫向對比同時代的政令宣導片、文藝愛情片、抗日愛國片與新電影，縱向梳理出「林場電影」此一特殊類別的歷史流變，指出各個時代如何透過影像和劇情，直率或隱晦地呈現林場的自然生態與臺灣政治歷史的複雜關聯，為臺灣電影史提供新的研究素材與詮釋角度。

This paper examines the “forestry films” of Taiwan from the 1950s to the 1980s. It delves into the natural landscapes and mountain transportation images, such as railways and cableways, and using Taiwan’s film history and forestry development history as references. By analyzing narrative films shot in logging sites, this thesis explores the unique qualities of these films at the time, delving into the ecological perspectives and political nuances they reflect. From the Japanese colonial period to the post-war Nationalist government of the Republic of China era, forest sites served as locations for government control over forestry resources. Consequently, ecological concepts, the symbolic significance of forestry railways, and plotlines in these films, often wrapped in love stories, are closely tied to Taiwan’s economic development and regime transitions. Beginning with the educational film Spring of Jade Hill (翠嶺長春, 1958), which promoted environmental protection and afforestation. Thereafter, the romantic themes, pop-culture actresses and anti-Japanese settings of My Sweet Memory (密密相思林, 1978), and Love in chilly spring (春寒, 1979). Before concluding with La nature est relativement belle (霧裡的笛聲, 1984), which depicted the decline and closure of forest sites. Ultimately, this thesis argues that the shifts in natural landscapes and mountain transportation images in these works, reflect not only Taiwan’s growing environmental awareness, but also the complex interactions by government policies, film stars, screenwriters, and directors across different eras. Through a cross-sectional comparison with contemporary propaganda films, romantic dramas, anti-Japanese patriotic films, and the New Wave Cinema, and by longitudinally tracing the unique historical evolution of “forestry films,” this study highlights how different eras portrayed the complex connections between natural ecology of forest sites and political history of Taiwan, offering new materials and interpretative perspectives for Taiwanese film history.