重繪李小龍：作為明星文本的手繪電影看板

Bruce Lee in Paint: Hand-Painted Movie Billboards as Star Texts

電影看板畫師不只是一位電影院廣告宣傳的工作者，同時也可能是熱愛電影的藝術家。本文通過明星研究的分析框架，重新檢視跨媒體敘事的實踐，並強調手繪電影看板如何在影院牆面上展示時，不僅推廣了電影，還強化了「電影明星」的視覺再現。本研究聚焦於1970年代手繪看板畫師張玉村先生的工作影像檔案，特別關注他對傳奇功夫明星李小龍的描繪，將這些手繪電影看板視為一種獨特的「明星文本」。首先，本文從電影文化研究的視角，探討電影手繪看板如何作為公共空間中的展示媒介以及文化產物，促進電影文化的傳播。其次，通過分析電影明星作為宣傳與行銷工具的運用，強調明星影像在手繪電影看板設計與吸引力中的核心地位。最後，通過李小龍在手繪看板上的形象案例研究，闡明看板畫師如何以視覺轉譯功夫類型電影，提供重新思考電影史書寫的另類視角。本文旨在連結電影文化研究與明星研究領域，提出手繪電影看板作為理解藝術風格、商業策略與電影明星遺產交涉的重要媒介。

SThe movie billboard painter is not merely a worker involved in cinema advertising and promotion but also a potential artist deeply passionate about film. This article reexamines the practice of transmedia narratives through the lens of star studies. Handpainted movie billboards, displayed on cinema walls, not only promote films but also amplify the visual representation of “movie stars.” This study focuses on the 1970s photographic documentation of billboard painter Mr. Chang Yu-tsuen’s work, particularly his depictions of the legendary Kung Fu star Bruce Lee. It regards these hand-painted billboards as a unique form of “star text.” The discussion unfolds in three parts: First, from the perspective of cinema culture studies, it explores how movie billboards function as public displays of cinematic culture. Second, by analyzing the use of film stars as a promotional and marketing strategy, it highlights the centrality of star imagery in the design of hand-painted movie billboards. Finally, through a case study of Bruce Lee’s portrayal on hand-painted billboards, it demonstrates how billboard artists visually interpret genre films, offering a fresh perspective on film historiography. This article aims to bridge the fields of cinema culture and star studies,proposing that hand-painted billboards serve as a vital medium for understanding the interplay between art, commerce, and the legacy of film stars.