本論文包括兩層命題：一是「論戲曲電影」，二是「論戲曲電影對黃 梅調電影的影響」，第二命題含雙向討論，不僅單向論「戲曲電影對黃梅調電 影的影響」，還返回頭來再論「黃梅調電影流行之後對臺灣戲曲劇壇的影 響」。1949 年以前以拍攝京劇電影為主，當時京劇最為流行，拍電影的商業 目的明顯。1949 年以後各戲曲劇種百花齊放，拍電影海外發行的目的在政治 統戰，而越劇《梁祝》與黃梅戲《天仙配》電影在香港放映轟動，不僅兼收 創匯經濟效益，更觸動香港電影導演靈感，創出「黃梅調電影」新類型，流 行於臺灣及東南亞各國，為邵氏電影公司帶來高度商業效益。 論文後半論及黃梅調電影流行後對臺灣傳統戲曲（越劇、歌仔戲、京劇） 的影響，以通俗文化的流動與傳播為主軸，並由此辯證通俗文化和傳統藝術 之間的關係。最後的餘論，提出1950、60 年代臺灣兩部京劇電影《洛神》與 《梁紅玉》。本文即是以書籍報刊、田野訪談、親身觀賞、大量影片蒐羅為基 礎，通過戲曲電影的發展考察、交互影響、資料展列與實例分析，呈現其間 藝術、商業、政治、紀錄等多重意義。

There are two topics in this essay; the first is a discussion of xiqu movies and its influence on Huangmeidiao movies. The second one is a two-way observation, on the influence of xiqu movies on the Huangmeidiao movies, and reversely on Huangmeidiao movies’ influence on the xiqu circle of Taiwan. Before 1949, the xiqu movies were mainly of Peking Opera. Because of the popularity of Peking Opera at that time, the movie producers obviously had commercial interests in mind. After 1949, many more opera genres flourished. The purpose for producing xiqu movies to be released overseas was a political one, i.e., winning support for the Chinese Communist regime. The huge success of Yue Opera Liangzhu (Butterfly Lovers) and Huangmeidiao Opera Tianxianpei (Heavenly Match) in Hong Kong not only generated lucrative revenue, but also inspired Hong Kong directors to develop a genre that came to be known as Huangmeidiao movies. This new genre was very popular in Taiwan and Southeast Asian countries, bringing in high profits for the Shaw Brothers Pictures Limited. In the second part of this essay, I describe the influences of Huangmeidiao movies on the traditional xiqu (Yue Opera, Goa-a Opera, and Peking Opera). My discussion centers on the fluidity and transmission of popular culture, from which I differentiate the relation between popular culture and traditional arts. In the final section, I discuss two Peking Opera movies Roselle and Liang Hongyu produced in Taiwan during the 1950s to 1960s. My thesis is based on books and newspapers, field research, collect ing and viewing considerable number of films. Through examining the development of xiqu movies, their mutual influences, as well as presenting data and conducting case studies, I demonstrate xiqu movies’ significances in multiple dimensions, including arts, commerce, politics, and its role in archiving.