日治時期臺灣「紙芝居」活動──以戰時動員為中心的觀察(1937-1945)

Abstract

「紙芝居」以「邊抽換畫片邊說故事」的表演模式，結合商業運作，於1930年代成為風靡日本街頭的商業藝文活動，其內容被教育者所注意，後續也被納入政府進行戰爭宣傳的工具之一，這種發展模式隨後也被引入臺灣。除了學校教師作為運用於教學外，殖民政府也在推動「國民精神總動員」或「皇民奉公會」中使用，甚至成立了以「紙芝居」活動為主的「臺灣紙芝居協會」，企圖透過「紙芝居」填補其他宣傳工具的不足。殖民政府引入日本本土出版的「紙芝居」、發行自有出版品、舉辦「紙芝居競演會」和講習會、組成各地「挺身隊」等方式推廣「紙芝居」，並透過畫片抽換技巧、串場於其他活動、使用觀眾習慣語言等方式吸引觀眾注意。內容上則透過戰爭元素的使用、強烈的對比手法、使用地圖與科學數據等方式來塑造政府推行南進政策的正當性和對未來的正面想像，企圖讓臺灣人達到認識時局後，隨政府指導從事戰時生活，並配合國策進行人力與物力的動員。

紙芝居作為宣傳工具的一種，相較靜態宣傳如漫畫、海報，多了聽覺和視覺的刺激；和動態宣傳如廣播、電影、戲劇的演出比較上，更無人力、物力調配的限制，「簡易」、「便利」、「深入基層」是紙芝居活動得到政府支持而快速發展的原因，但也因其與日本緊密連結和戰後特殊的統治氛圍，使紙芝居在戰後無法持續發展。不過隨著政治風氣的開放、新血的投入，紙芝居亦以新的面貌重為臺灣人所認識。

Kamishibai, a form of performance in which narrators tell stories by changing a set of illustrated boards, combined with business operations, became a popular commercial street art activity in Japan during the 1930s. This form of storytelling drew the attention of educators and was subsequently included in the Japanese government’s toolkit for wartime propaganda. Such applications were later introduced into Taiwan. Aside from being utilized as a learning medium at schools, kamishibai was also adopted by the colonial government to promote the National Spiritual Mobilization Movement and the Kominhokokai. Moreover, the Taiwanese Kamishibai Association was founded to promote kamishibai, seeking to complement other propaganda approaches. The colonial government brought in Japan-published kamishibai materials, issued its own publications, organized kamishibai contests and workshops, and formed regional volunteer corps to popularize kamishibai. Narrators commanded the audience’s attention through picture changing techniques, brief performances during other events, and use of the audience’s familiar languages. In terms of the content, kamishibai created a legitimate sense of Japan’s South Forward Policy and a positive vision for the future through the use of warfare elements, striking contrast techniques, maps, scientific data, etc. The colonial government attempted to give Taiwanese people a picture of the social context through kamishibai propaganda, so that they would lead wartime lives in accordance with the government’s guidance while further participating in human and material resources mobilization in compliance with national policies.

As a type of propaganda tool, kamishibai provided more auditory and visual stimulation in comparison with static propaganda means such as comics and posters. Meanwhile, it was subject to fewer human or material resource allocation restrictions in comparison with dynamic propaganda vehicles such as broadcasts, films, and dramas. Simple, convenient, and relatable to the grassroots, kamishibai enjoyed strong support of the government and developed rapidly. However, due to its close association with Japan as well as the special postwar political context, kamishibai was discontinued after the war. Luckily, with a more liberal political climate and the engagement of new blood, kamishibai has been revitalized and reintroduced to Taiwanese people with a fresh new look.