國軍電影事業的沿革與發展，是重要但未引起足夠注意的課題。整體上，電影史研究仍有相當大的空白需填補，特別是統治者或政軍情勢所扮演的角色。在這當中，「軍事」對電影的運用，便比很多人想像地還更深入。國軍在建軍初年，已嘗試建立電影工作體系；和許多國家相比，毫不為晚。及至抗戰期間，國軍所屬的「中國電影製片廠」（中製），更一躍為大後方地區的最大製片機構，出品可觀數量的新聞片、劇情片。國軍另建立龐大的電影放映隊，下鄉工作；在中國電影尚屬於「城市」的年代，軍方的努力可謂耀眼非常。為了探析前揭現象，國內外因素必須考慮；以宣傳體制言，蘇俄、義大利、美國都曾是當局師法的對象。當然無可諱言的是，國軍也像其他官方機構，對於身上的宣傳手臂，無法總是揮使自如。值此「電影時代」猶方興未艾的今天，回顧這段歷史，應具意義。國民黨政權，特別是軍方的部分，如何在 1920 年代以降發展電影事業，是本文的焦點。 The motion picture enterprise of the Nationalist Army played an important role in modern Chinese history, but the exact role the authorities and political and military circumstances played is an unknown area that leaves a lot to be probed into and charted. The filmmaking business was in fact established in the military system since the start-up age of the Nationalist Army—an achievement in military propagation that defied most of nations during that time. During the age of Japanese invasion, the military “China Film Studio” became the largest filmmaking company in the homefront, churning out lots of newsreels and dramas. In order to show movies in the rural area, a propagation troop was organized and dispatched to the villages. It’s significant in an age when movie was rare outside cities. In order to understand the boom of filmmaking during this time, foreign influences must be factored in. Russia, Italy and U.S. propagation policies were all resources that inspired the authorities in the practices of filmmaking. However powerful the filmmaking in propagation was, it’s not unbridled. The red tape that paralysed many bureaucracies also infested military departments, neutralizing the effects the propagation could make. This paper focuses on how the Nationalist government, especially military departments, promoted the filmmaking business since 1920s. In an age that movies are flourishing as ever before, the history of filmmaking as accounted here shall be inspiring to those who are interested in its present and past.