摘要
本研究将尝试从人文主义的电影研究出发，并以西方后现代主义（post-modernism）和后殖民主义（post-colonialism）的视角探索九七政治和王家卫（wong kar wei）自1989年以来至2000年导演的电影之间的关系。本论文以为王家卫电影之所以能够在世界各地获得广大影迷与影展的回响，究其原因不止出于其电影屡屡在技术层面的创新突破，更大的原因在于他的电影书写了当代人类生存在都市中的情境，也就是说，都市不仅是一个物理的地理的地点，同时也是一种精神产物，可作为理解人类生存状态的方式。本研究将处理香港人关心的九七回归问题，探讨王家卫电影，尤以《重庆森林》里的九七政治，首先提出香港殖民历史与九七问题，进而讨论电影中流动的空间、自己的时间、以及身份认同等问题。
關鍵字
無資料並列摘要
This study discusses films on humanity and from the perspectives of post-modernism and post- colonialism, it attempts to examine the intriguing relationship between Wang Kar-Wei's movies made from 1989 to 2000 and the historical background of the handover of Hong Kong in 1997. Wang Kar-Wei's movies have received positive responses from movie-lovers from all over the world and have been recognized by many world-class film festivals. This paper argues that besides the success of technical mastery, Wong's movies have gained acclaim due to their in-depth depiction of the plight of human beings living in a city. City in his movies is not a mere physical location but a metaphysical product which could lead to understand the way of modern living. The paper raises the questions of colonial history and 1997's handover of Hong Kong by inspecting the relevant events depicted in Wang's 'Chongqing Express'. The questions of "moving" space, one's own time and identity in the film are discussed.