在台語片史上，將歌仔戲搬上銀幕的「歌仔戲電影」，缔造了不 少「第一」的紀錄，從產量來説，它也是非常重要的影片類型。電影 固然是典型工業科技的產物，但在其發展歷程中，非科技因素卻往往 扮演更關鍵的角色。在這篇論文裡，筆者嘗試從社會歷史的觀點，探 討台灣產生歌仔裁電影的背景：「台語片時代」爲何會由歌仔戲電影 揭開序幕？歌仔戲作表什麼樣的社會藝術傳統，具備哪些方面的社會 資源，爲何能持續地挹注本土製片業？又，由傳統戲曲形式發展起來 的歌仔戲，爲何會結合影像媒體，甚至轉進影像媒體？從歌仔戲到歌 仔戲電影，筆者試圖總結前述觀點，重新定位歌仔戲電影的意義。

In the history of the Taiwanese Dialect Film, the Taiwanese Opera Film has its unique position, not only because it holds some first records in this field, but because it is a important film genre by its production. Although films are typical products of technical industry, the non-technical factors play a influential role in its process of development. In the point of social history, the author intends to explore the background that the Taiwanese Opera Film evolves from in Taiwan: Why it led the proceedings of the Taiwanese Dialect Film? Moreover, what kind of social and art tradition did it stand for? With what kind of social resource that the Taiwanese Opera invested in the local film production? Furthermore, why the Taiwanese Opera evolved from the Chinese regional drama tradition would combine with the new media, even develop a new art pattern? After all, the author try to re-examine its meaning from the Taiwanese Opera to the Taiwanese Opera film.