Lee Hsing (1930- ) is one of the most prominent directors in the history of Taiwanese cinema. He has made 52 films (including two documentaries) in his filmography. Each change of direction he made has brought about a new wave of cinema, which makes him one of the major pioneers of Taiwanese cinema in the second half of the 20th century. However, among published literature focusing on Director Lee, the music in his films has rarely been discussed. This paper mainly focuses on Director Lee's film songs, with music as a supplement.
There are more than a hundred film songs in Lee's film, but they have never been fully investigated. The songs, such as “The Story of a Small Town” (小城故事), “Good Morning, Taipei” (早安臺北), “Love Is An Elusive Wind” (風從那裡來), “Where the Seagull Flies” (海鷗飛處), “My Native Land” (原鄉人), “The Heart with a Million Knots” (心有千千結), and “Rhythm of the Wave”(海韻) gained great popularity in Chinese diaspora. Through a wealth of interviews and primary sources, this paper explores Lee's existing film songs, it points out that after the landmark films “The Melody of Love” (《情人的眼淚》, 1969) and “Stardust” (《群星會》, 1970), Lee began to deploy songs intentionally in his films, whereas the previous films had fewer songs. It also indicates that although Director Lee has always considered himself to be a realist, after he began to deploy songs, a musical sub-line of songs and dances would often be constructed alongside the main narrative line of realism. The musical sub-line can also be distinguished from the real and the virtue, interlacing with the main narrative line in a way of 'popular songs in realistic films'. The paper also identifies that the popularity of the film songs led to a close integration between the film industry and the recording industry, with songs and films being marketed alongside each other and complementing each other, which created a glorious era of films and popular songs.