中共過往製作統戰歌曲運用同宗同源的血脈中國話語進行宣傳，卻造成反效果，甚成抗爭惡搞的文本資料庫。不同於血脈中國策略，湖南衛視自2022 年起製作《聲生不息》五季節目，強調中華文化將中港臺和全球華人融為一體，並突顯臺灣流行文化，稱其為華流代表。本文以《寶島季》為個案，分析此新策略如何試圖轉換臺灣社會對統戰節目的厭惡情緒，召喚出從厭惡到喜愛，光譜更廣的情感。本文有兩項主要貢獻：首先，指出中共統戰策略出現新的變化，在血脈中國之外出現文化中華策略，以文化情感而非族裔血緣為訴求，需警覺威權韌性的新展現。其次，分析文化中華策略奏效的三個原因：第一，歌曲易召喚集體記憶與自傳式記憶，大量臺灣歌曲讓聽者扣合個人記憶，強化對節目的認同感；第二，政治訊息分散於各綜藝環節，沖淡政治性；第三，以致敬之名擬仿金曲獎，重新編纂臺灣金曲唱片，實則由黨意獨斷決定選曲，將臺灣流行音樂框限在「具有臺灣特色的華語音樂」，排除社會議題與臺灣意識的歌曲。中共版金曲唱片透過網路平臺散播，進入集體記憶資料庫，參與歷史詮釋權的爭霸。

The Chinese Communist Party (CCP) has long mobilized bloodline-based narratives of shared ethnic origin to produce pro-unification songs. Such efforts have consistently backfired, however, generating a corpus of parodic and resistant counter-texts. Departing from this “bloodline China” approach, Hunan Satellite Television launched Infinity and Beyond (2022~present), a five-season music variety program that frames Chinese culture as a shared heritage uniting mainland China, Taiwan, Hong Kong, and the global Chinese diaspora, while positioning Taiwanese popular music as a flagship representative of the “Chinese Wave.” This article presents a case study of the “Treasure Island Season” to examine how this new strategy attempts to displace Taiwan’s entrenched aversion toward pro-unification cultural productions and to elicit a broader emotional spectrum—ranging from hostility to affection.

The study advances two principal arguments. First, it identifies an emergent shift in CCP united-front strategy: alongside the discourse of “bloodline China,” a “Cultural China” approach has taken shape—one that appeals to cultural sentiment rather than ethnic kinship and warrants attention as a new manifestation of authoritarian resilience. Second, it accounts for thepersuasive potential of this strategy through three interlocking mechanisms: (1) music’s distinctive capacity to activate collective and autobiographical memory, enabling audiences to anchor iconic Taiwanese songs to personal experience and thereby deepen identification with the program; (2) the dispersal of political messaging across variety-show segments, which dilutes its ideological visibility; and (3) the program’s simulation of the Golden Melody Awards under the guise of tribute, through which a Party-curated canon of Taiwanese popular music is assembled. Although framed as homage, song selection is determined unilaterally by Party priorities, confining Taiwanese music to the category of “Mandarin music with Taiwanese characteristics” and systematically excluding works that engage social critique or articulate Taiwan-centered consciousness. Disseminated across digital platforms, this Party-curated canon enters the collective memory database and intervenes in the ongoing struggle over the interpretive authority of cultural history.
 

流行音樂、記憶政治、統戰、綜藝節目、兩岸

Popular Music, Memory Politics, United Front, Variety Shows, Cross-Strait Relations