本文討論臺灣1950年代末至1960年代初期，隨著臺語片興起所出現蓬勃的「明星熱」與「香港熱」的現象。筆者認為當代報章雜誌關於臺語片明星的報導，一方面呈現當代社會對於臺語片興起的反應，另一方面，報導撰文的修辭也體現主流意識形態運作的軌跡。透過閱讀「明星夢」與「香港熱」的相關報導，本文辨識出「國家化國語片」與「省化臺語片」的態度與修辭，其將剛興起的臺語片和明星與中國中心國族主義接合起來。然而，關於臺語片明星的香港經驗，報導中所流露出對現代大都會的渴望——無論出自於明星本身或是媒體對於明星香港經驗的詮釋，顯示了中國中心主義意識形態無法完整地框架與收編此新興文化。

This article studies the star phenomenon driven by the emergence and rapid development of the taiyupian —Taiwanese-language films — industry in the 1950s through the lenses of the “dream of stardom” and “Hong Kong fever.” The media discourse on the star phenomenon allows researchers to probe into the contemporary society’s reaction to this newly developed industry as well as trace ideological operations that organize public perceptions of culture. The article explores the formation of taiyupian culture and related media discourse through the lens of star phenomenon during its nascent years—from 1955 to 1960—and the convoluted and sometime paradoxical relations between gender, nation, and modernity. By reading newspaper stories related to “dream of stardom” and “Hong Kong fever,” I attempt to point out the dominant ideology’s operation in journalistic representations seeking to contain the phenomena within Sinocentric nationalism. Newspaper stories about “dream of stardom” and “Hong Kong fever” applied the dichotomous framing of Mandarin film and taiyupian film industry—the pure vs. impure—and the rhetoric of nationalizing guoyupian to provincialize taiyupian. The article will analyze taiyupian stars’ cosmopolitan desire in their Hong Kong experiences and argue that, as uncontainable excess of the emergent culture, it circumvents the Sinocentric nationalism.