本文試圖以倒敘的論述方式，來逐步探討戰後初期台灣為何沒有電影片產製的能力，但在觀影市場的經營中，戲院的營運與民眾的消費能力卻是蓬勃發展的。歸納其主因，在於台灣電影產業在日治時期即是一個無能力製作發行，卻有電影消費習性的市場。這種不均衡的畸形發展，在於總督府認為由台人製作發行電影，會使電影宣傳教化民眾的工作受阻，致使日治台灣的電影產業處在一種受制於殖民母國配銷型態的經營狀態。為論證此一觀點，文中將先從台灣如何受到日本的「電影國策」計畫的影響，成為「大東亞電影配給聯盟」下「滿州映画」傾銷地域的過程論起。以1935年台灣「始政四十週年博覽會」的舉辦為例，在航運便捷與總督府獎勵的誘因下，日本片商搶占台灣市場，壟斷電影發行放映權，致使台灣無能力自製電影外，戲院的經營也逐漸為日人所取代。總督府甚至組織電影工會「台灣映畫配給組合」，進一步有效控制這種影片由日本配銷，在台灣構築文化消費市場的作為。為促進電影消費與教化功能，總督府與日商不斷透過戲院改良與宣傳鼓勵的方式，建立台灣民眾的觀影消費習性。因此論文最後以庶民生活史的研究視角，利用報章雜誌與口述歷史的紀錄，來觀察在配銷型態下的電影市場，台灣民眾如何建立起觀影的休閒習性，以及剖析看電影對於日治台灣民眾的意義。

By flashback expositions, this paper discusses the reason why the growth of cinemas in Taiwan was booming at the time of early post-war, while Taiwan did not have the capability to produce films. The main reason can be summarized by the phenomenon that Taiwan’s film industry did not have the capability of film production under Japanese colonial rule, but Taiwan had a substantial market for movie-watching. This kind of abnormal development arose because the government believed that film made by Taiwanese would threaten colonial control. To demonstrate the accuracy of this view, the paper will start with how Taiwan was influenced by Japan's “national film policy” and became Japanese films’ dumping grounds. Taking the example of the 40th anniversary exhibition of Taiwan’s colonial rule, at that time shipping methods had become much more convenient and the government created incentives for the Japanese industry. This led to the dominance of the Taiwanese market by Japanese film industry, and the monopoly of movie wholesale screening rights by the Japanese, which reduce the capability of the Taiwanese to produce movies of their own. The operation of theaters gradually became replaced by Japanese people. The government further attempted to create “Taiwan Screening Cooperation Network.” Progress was thereby made on controlling these movies distributed by the Japanese and consumed by the Taiwanese. The foundation of Taiwanese film consumption habits was thus established. To promote the consumption and educational function of movies, the government and the Japanese film producers intended to build habits of Taiwanese consumers by continuously improving theater facilities and promoting influence. In addition, the paper uses newspaper and magazine records as well as oral history together with a perspective of national history to observe the distribution channel of Taiwan’s film market.