翁倩玉（1950-）為少數活躍於臺日兩地的明星，本文聚焦在她從 1960年代在日本發跡以來到1970年代返臺發展時期的明星形塑，透過耙梳她身為「旅日華僑」的身份如何被當時日本和臺灣的媒體所理解，進一步探討她的明星形象如何被當時的國民黨政府和臺灣電影用來宣揚冷戰意識形態。本文同時試圖勾勒出翁倩玉明星形象之多義性，特別是她的「日本」身份所帶來的另一種現代且國際化的想像，她在臺灣電影中的角色與銀幕外的形象不僅調解政治宣傳與現代性議題間的矛盾關係，她在片中所展示的日本和西方流行音樂及文化也帶給了臺灣社會多重現代性的體驗。藉由解析翁倩玉從1960到1970年代之明星形象塑造，本文重新思考介於明星、冷戰、以及現代性之複雜且矛盾的關係。

Judy Ongg is one of the few stars active in both Taiwan and Japan. This paper focuses on the construction of her transnational stardom from the time she began her singing and acting career in Japan in the early 1960s through to the period in the 1970s when she joined the film industry in Taiwan. By investigating the ways in which Judy Ongg’s overseas Chinese identity was perceived by the Japanese and the Taiwanese media, this paper examines how the Kuomingtang (KMT) government and the film industry in Taiwan used her star image to promote nationalist ideology and reconfigure Taiwan’s relationship with Japan during the East Asian Cold War. Building on Richard Dyer’s star theory, this paper also analyzes the polysemy of Judy Ongg’s star image. Her star image and the characters she plays in the films serve to negotiate the conflicts between political propaganda and issues of modernity. Furthermore, the “foreignness” that Judy Ongg possesses also brought a unique experience of modernity and cosmopolitanism to the Taiwanese audience during the Cold War. By analysing Judy Ongg’s star image from the 1960s to the 1970s, this paper hopes to show the complex relationships between female stardom, the Cold War, and modernity.