1960年代的臺灣大銀幕上，張美瑤是曝光率高且演技傑出的影星之一。為理解張美瑤於文化冷戰視野下跨國明星形象的生成，本文將針對她早期大銀幕上的角色造型與報刊媒體上的修辭進行分析。本文以理查・戴爾（Richard Dyer）的明星理論為基礎，對其進行符號學與社會文本分析，論述張美瑤早期明星形象扮演與建構的過程（1958-1965）。除了考察張美瑤明星現象在東亞各國之間的生產與傳播的途徑，更指出跨國片廠制度的框架將有助於深化臺灣電影的冷戰時期重層的影業交流史。同時，也將張美瑤的明星現象置於「文化冷戰」的跨國脈絡下，反思她大銀幕角色中的性別再現、族群邊界和地緣政治。最後，本文重估冷戰時期的張美瑤作為明星工具的部署策略，乃是對於來自戰爭前線動態影像裝置的思考。

A Cold War-era Taiwanese film star, Chang Mei-yao was the most distinguished actress of the 1960s. A locus of transnational support for the cultural Cold War in East Asia, this paper will seek to understanding Chang’s political activities through an examination of her cinematic character development and rhetorical commentary in newspapers and fan magazine. According to Richard Dyer’s theoretical framework, a semiotic and sociological analysis of Chang’s iconic persona throughout her early career (1958-1965) is offered in terms of structured polysemy. Through discussion of Chang’s stardom in Taiwan, Hong Kong and Japan, this article engages with the concept of the transnational film studio system, which provided for international cooperation and an exchange platform for the Taiwanese film history. The work thus explores the stardom of Chang Mei-yao, placing her persona into the cultural Cold War and transnational contexts, and discusses her characters in relation to notions of gender representation, ethnic boundaries and geopolitics on screen. I conclude that the study of female stardom in the Cold War can be regarded as a critical thinking disposition of the star vehicle, in terms of the moving images both to and from the battled field.