戲曲電影作為戲曲表演藝術的載體，不論以舞臺紀錄為重，或以電影藝術為主，於其中皆可見表演者功法藝術之展現，特別是在影音紀錄尚未普及的時代或地域，戲曲電影毋寧為保存、觀看戲曲表演（者）的重要媒介。本文最初之撰寫動機即基於此：藉由臺灣首部最具規模的京劇電影《洛神》（1955）—金素琴目前唯一存世之完整影音作品—觀看並了解其時臺灣菊壇青衣祭酒的表演藝術。再者，爬梳該片攝製始末與影片質性，並置諸冷戰脈絡中予以探討，得以凸顯這一部「勞軍電影」的特殊性。此外，與梅蘭芳京劇電影《洛神》進行比較，則可明確釐析兩岸同年拍攝完成之不同版本的《洛神》在電影藝術形式之嘗試，以及文本演繹、演員詮釋之異同。據此，當可知臺灣京劇電影《洛神》所表徵的意義。

The Peking opera movie, be it its emphasis on stage recording or on cinematic art, as a carrier of this performing art represents the performers’ craftsmanship. Especially in an era or region where audio-visual records had not yet become popular, the Peking opera movie was rather an important medium for preserving and watching opera performances and performers. This background lends weight to the initial motive of writing this paper: with reference to Taiwan’s first full-length Peking opera film Luoshen (1955), Jin Su-Chin’s only complete surviving audio-visual work, allows Taiwan’s supreme diva of Peking opera at the time to be seen and appreciated. Moreover, elaboration on its filming process, the nature of the film, and to put it in discussion in the context of the Cold War can bring the particularity of this troop-entertaining film into relief. In addition, in comparison with Mei Lan-Fang’s version of Luoshen, another Peking opera movie also shot in 1955 on the other side of Taiwan Strait, it is certain that the similarities and variations of their artistic attempts in cinematic styles, interpretations of text and renditions of acting can be clarified. The significance of Luoshen as Taiwan’s Peking opera movie can thus come into being.