流行音樂與電影曾是兩個最緊密配合的傳媒，協助台灣政府在戰 後建構國家認同及國族身份。本論文所探討的議題爲：此兩項關係密 切的傳媒在建構一現代、反共、儒敎的中國認同時，所扮演的角色爲 何？媒體如何運用其特質來呈現一牢不可破的國家身份？而歷史環境 和社會政治變遷又如何重整國族身份的内觀外貌？此外，電影作者又 如何運用電影音樂、電影類型及電影風格來進行影像外的政治敘事？ 爲逐一回答這些問題，本文設定以八十年代初期政宣片（《龍的傳 人》），健康寫實主義電影（《早安，台北》），及七十年代的校園 民歌運動，來研究流行音樂與電影之互動的演變。分析得知，電影與 流行音樂的關係是呈循環的持績狀態；同時，由於中國身份的被質 疑，認同政治成爲流行音樂重要的主題，在新音樂中不斷以不同的曲 式和語言呈現修正型之中國民族主義。於此，在意識型態的轉移和文 化商品機制的主導下，形成的國族認同，包含商業、政治與藝術的交 互運作。

Popular music and film were the two media most engaged in assisting the state to construct national identity in postwar Taiwan. What role did they play in creating a modern, anti-communist, and Confucian-oriented Chinese identity? How did the media use their specific characteristics to represent an unequivocal Chinese identity? How did historical environments and socio-political changes reformulate the makeup of this national identity? How did film directors use film music, genre, and style to respond to the changes? In order to answer these questions, this study examines the relationship between the college folk movement of the 1970s and policy films (Land of the Brave, 1981) and health realist films (Good Morning, Taipei, 1980) of the early 1980s. The analysis shows that identity politics occupied a central role in college folk music and popular cinema, due to the late 1970s* collapse of the concept of nationalism based on a unified Chuina. The combination of this ideological shift and the introduction of advanced cultural commodity apparatuses forms a national identity characterized by shifting loci of commnerce, politics and art.