當反共言情遇上鐵道影像──論台語片《難忘的車站》的互媒性

When Anti-communist Romance Meets Moving-images of Railway:Exploring Intermediality in Encounter at the Station

1960年代的台語片中，「鐵道」是一個常見的視覺造型，多數台語片以此公共空間的影像再現表述現代性的誘惑。辛奇導演的台語片《難忘的車站》改編自金杏枝的反共言情小說《冷暖人間》，電影劇本原名為《苦戀養女淚》。本文透過跨媒介敘事的視角，主張《難忘的車站》應置於反共文藝、台語片產業與台語歌曲發展的脈絡下，才得以理解影片的互媒性策略。本文首先將梳理小說《冷暖人間》不同的版本差異，進而指出電影劇本《苦戀養女淚》刻意省略小說中的戰爭情節與政治宣傳，創造跨媒介互文的敘事張力。本文第二部分則聚焦台語片《難忘的車站》的歌曲調度，理解本片如何透過歌曲敘事，將鐵道作為日常生活實踐與個人慾望流動性的象徵，一方面挑戰冷戰意識形態下文化場域的治理邊界，二方面體現跨越階級自由戀愛的感覺結構。

The use of the railway trope is common in Taiwanese-language films from the 1960s, most of which used images of public space to express the allure of modernity. The film Encounter at the Station was directed by Hsin Chi and adapted from the anti-communist romance novel Cold and Warm World written by Chin Hsing-chih, the screenplay of which was originally titled Adopted Daughter Love. By using a transmedia narrative perspective, this article argues that Encounter at the Station must be situated within the context of anti-communist literature, the Taiwanese-language film industry, and Taiwanese songs to understand its intermediality. In the first section, primary emphasis is placed on the differences between versions of the novel Cold and Warm World. In particular, the narrative tension of transmedia intertextuality in the screenplay Adopted Daughter Love is created by deliberately omitting war plots and political propaganda depicted in the novel. The second section analyses how the railway is a metaphor for daily life and the fluidity of individual desire in Encounter at the Station through the mise-en-scène of songs. Such symbolism challenges the　boundaries of cultural governance and embodies cross-class free love amidst Cold War ideologies.