「後設文本性」(metatextuality)研究奠基在單一文本內包含兩個具備差異的文本,並且這兩個文本會互相產生反思性的碰撞。本論文探討蔡明亮電影《不散》,此一深具後設文本性的作品,並且聚焦在影片中後設文本性與雙重景框兩個主要研究問題。蔡明亮在《不散》中刻意地放映《龍門客棧》,因此《龍門客棧》成為《不散》的重要元素。《不散》的後設文本性是影片中包涵了他對《龍門客棧》的閱讀與思考,蔡明亮操作這兩種不同的影像紋路明顯銘刻在《不散》當中,它俱備了深刻的後設文本性的特色。此外,蔡明亮在《不散》中使用了雙重景框的思考,他拍攝了電影院銀幕上放映的《龍門客棧》,它必然會呈現出影片對雙重景框的美學探討,成為《不散》的影像基調。因此,在《不散》中雙重景框所堆疊出的影像中,它同時反映出後設影片文本性與雙重景框的這兩種特殊電影美學。
The study of metatextuality bases on discussing how two different texts reflectively collides with each other within one single text. This paper aims to discuss the metatextuality and double frames in Tsai Ming-liang's Goodbye Dragon Inn. The metatextuality in Goodbye Dragon Inn contains Tsai's profound reading of King Hu's Dragon Inn. By adopting double framing as an aesthetic strategy, which is projecting King Hu's Dragon Inn in Tsai's Goodbye Dragon Inn, Tsai finds and realizes the aesthetic of filmic metatextuality and double framing in his Goodbye Dragon Inn.