電影的構成，除了影像部分外，聲音也是重要的一環。在觀賞電影中，觀眾均會在不自覺中受到聲音的影響，這些聲音包含了對白、音效與配樂。而配樂的手法又有許多的技巧，例如平行、同步、對位等，並不如一般觀眾想像中僅是填補聲音的空白。在本文中，將以今年最賣座的國片《艋舺》為例探討，不僅是因為它是本年度受矚目的一部電影，更是因為其中有許多特殊意義的配樂手法，顛覆了一般觀眾對黑道電影的既定印象。陳珊妮以女性製作人的角度為以男性幫派為主的電影來做配樂，跳脫了以往古惑仔電影配樂的模式，不僅給觀眾不同的聽覺經驗，也讓這類的電影展現不同的面貌」。本文除了將電影配樂的歷史、作用及手法做簡單的介紹外，更近一步以《艋舺》中的手法為例，使讀者能在觀賞電影時能進入導演影片中的內涵意義。

The film is mainly composed of the vision as well as sound effects. The audience is greatly influenced by those sounds present in the movies which primarily include the dialogue, sound effect and soundtrack. Many people think of soundtrack as the substitution between successive scenes in the movies. However, there are much different schemes used in making soundtrack. Those includes the applications of parallel processing, synchronization, counterpoint (i.e., two or more melodies interact simultaneously), etc. In this article, we will take the gangster film ”Monga”, the blockbuster this year in Taiwan, as an example to explore its extraordinary soundtrack schemes in interpreting gangster films. Sandee Chen, a famous female Taiwanese record producer, was responsible for designing the music throughout the film. Her skills used are significantly different from those used in conventional Hong-Kang-based gangster movies. This article will provide an introduction of the history of soundtrack and its general techniques. Moreover, taking Monga as an example, this article will decode the meanings of using specific sound effects in the film.