1960?? ?? ¡®??? ????¡¯ ?? ?? ¡ª <? ?? ??(òÂÅ®)>? ???? (A Study on Taiwanese Films in a Genre of ¡®Healthy Realism¡¯ in the 1960s: Focusing on Oyster Girl)

??? ????? ??? ???? ??? ????. ??? ?? ?? ??? ??? ??? ?? ????. 1963? 3?, ??? ????? ??? ??? ??? ??? ???? ?? ??? 1980?? ?? ???? ??? ???? ??? 20? ? ? ?? ???? ????. ??? ?? ??? ??? ???? ??? ??? ???? ? ???? ??? ?????, ??? ??? ???, ??? ?? ?? ??? ? ??, ??? ??? ?? ??? ????. ??? ??? ????? ???? ? ?? ???? ????.
??? ???? ??? ??? ¡´? ?? ??¡µ??. 1964? 2? 11? ?? ?? ??? ? ??? 180? ????? ?? ??? ????, 1964? ?11? ???????? ¡®??? ???¡¯? ?????. ? ??? ????? ?? ??? ?? ?????? ?? ??? ???? ????? ??? ??? ???. ??? ??? ??? ??? ????? ?? ????, ??? ??? ¡´? ?? ??¡µ? ?? ??? ??? ????? ????? ?? ???? ??? ????, ??? ???? ??? ?????? ???? ???? ??? ????? ??. ?? ?? ????? ???? ? 1960?? ?? ???? ??? ?? ??? ?? ? ?? ???, ???? ?? ??? ? ?? 1964??? 1982? ???? ??? ???? ??? ?? ???? ??? ??? ????? ?? ??? ?? ? ?? ???.

¡®Healthy Realism¡¯ was a term used for the first time by Gong Hong. He has shown a profound influence on the development of Taiwanese films. In March 1963, the ¡®Healthy Realism¡¯ film movement presented by Gong Hong, who was appointed as the general director of Chinese cinema, led the Taiwanese film industry for over 20 years before the New©\Wave movement in the early 1980s. Gong Hong, as he grasped human inherent virtue as contributing to the pursuit of ideal spiritual values, recognized that virtue can lead people to be good, it can lead to a bright path, and that it can promote society. He thought that it was the basic route that ¡®Healthy Realism¡¯ should follow.
The first film of ¡®Healthy Realism¡¯ was Oyster Girl. The film, which was screened in time for the Lunar New Year¡¯s Day on February 11, 1964, set a box office record of 1.8 million yuan, and in 1964, it won the ¡®Best Film Award¡¯ at the 11th Asian Pacific Film Festival. This film is a melodrama based on a triangle relationship, depicting a Taiwanese fishing village, and is considered a film that led rural reform. This paper examines the ¡®Healthy Realism¡¯ claimed by Gong Hong, and through the Oyster Girl produced for the first time, this paper attempts to pay attention to what the ultimate message was that the Kuomintang government wanted to convey to the public, and to the discrepancy that appears at the boundary between the promotion of the ruling ideology and the publicity. Through this, it will be possible to fill the academic research gap in the Taiwanese film history in the 1960¡¯s, which has been studied intermittently, and it will help you understand ¡®Healthy Realism¡¯ that has led the Taiwanese film industry from 1964, which has not yet been studied in Taiwan, until the birth of New Wave film in 1982.