呉 穎濤

在2000年之後，侯孝賢的電影焦點由《悲情城市》時期的鄉村轉向都市。《千禧曼波》(2001) 是其中一部代表作，電影於該年榮獲康城影展技術大獎。該電影描述女主角Vicky於2011年回憶她10年前的經歷，形成一部想像未來的反烏托邦故事。在電影中，繁華的台北呈現出一種頹廢，而偏遠的北海道夕張卻給予Vicky心靈的慰藉。過去對《千禧曼波》的研究主要集中於記憶和影像、跨國資本主義的影響、與朱天文的小說〈世紀末的華麗〉的互文性，以及電影呈現的末日情境。然而，至今尚無研究專注於電影裡的世紀末意識與末日情境的細緻區分與分析。英國作家王爾德 (H. G. Wells) 曾於十九世紀末探討過世紀末和世界末日的關係：前者是一種心靈頹廢和人性墮落的象徵，後者則描繪了一個即將來臨的浩劫。本文旨在通過區分這兩者來探討電影中對台北的描繪、人們頹廢的原因，以及為何夕張成為了與台北相對的烏托邦，藉此深入了解影片主旨和侯孝賢的晚期作品中的社會觀點和歷史情境，進一步揭示其電影中的越境性的特徵與意義。

In 2003, the film production company Shochiku invited Taiwanese filmmaker Hou Hsiao-hsien (1947-) to create a Japanese-language film to commemorate the 100th anniversary of the birth of the director Ozu Yasujirō (1903–1963). Hou’s film, Café Lumière (2003), depicts everyday life in Tokyo alongside a search for traces left behind by Jiang Wenya, a Taiwanese musician who gained popularity in Japan in the 1930s. Though Café Lumière has generally been considered an homage to Ozu’s Tokyo Story, some have argued that it is in fact a rival to Ozu’s film because it reverses the emphasis placed on the value of family in Tokyo Story. Moreover, evidence that the protagonist Yōko should be understood as an outsider provides important clues for a new reading of Café Lumière based upon the perspective of mixed identities. Therefore, this paper reads Hou Hsiao-hsien’s film Café Lumière as a social allegory by questioning the mode of existence of the half-Japanese, half-Taiwanese characters in the film. This paper uses the concept of intersectionality to clarify the role of mixed-background characters in Hou Hsiao-hsien’s film. In doing so, I find that in Café Lumière, these characters are often portrayed as occupying multiple socially disadvantaged positions in terms of gender, socioeconomic class, and family structure, thereby resulting in an independent lifestyle that clashes with traditional social and family values. Based upon this observation, I argue that while Ozu’s Tokyo Story explores the traditional concept of family, Café Lumière instead sheds light on how people who are considered unconventional find ways to survive in the city of contemporary Tokyo, a city full of impermanence and opportunity, through creation of a new sort of home that does not require dependence on the family.