如果以“国族”想象的角度来分析侯孝贤的作品,那么,在他的电影谱系里,关于台湾身份的思考大致可以分为前后两个时期。早期以《童年往事》(1985)和《恋恋风尘》(1986)等作品为代表,讲述内地移民二代的成长经验,叙事上依然倾向中华民族文化身份的认同,但成长已经慢慢开始获具主体性。后期从《悲情城市》等“台湾三部曲”(1989-1995)开始转折,成长的主体精神迫于现实和历史的困境集中爆发,不得不正视台湾的国族 If we analyze Hou Hsiao-hsien’s work in terms of “nationality” imagination, his thinking on Taiwan’s identity can be roughly divided into two periods in his film pedigree. In his early years, he represented the experiences of the second generation of Mainland immigrants represented by works such as “Childhood Past Events” (1985) and “Dust Falling in Love” (1986). The narrative still favors the identification of the cultural identity of the Chinese nation, but growth has slowly begun to take hold Subjectivity. In the later period, the “Trilogy” and other “Trilogy of Taiwan” (1989-1995) began to change. The main body of growth broke out due to the plight of reality and history, and had to face up to the nationalism of Taiwan