「複訪電影」是一種結合了電影理論史與實踐的殊異電影概 念和類別屬性。在影史上，它第一次出現於1960 年代初期古典 好萊塢電影帝國隕歿後的歐洲現代電影中，法國導演作者馬克的 短片《堤》（1962）和高達《輕蔑》（1963）即為代表作。其第 二次現身是在1980 年代，彼時正值電影對未來充滿不確定性， 德國創作者溫德斯藉《水上迴光》（1980）與《尋找小津》（1985） 重現了已逝的「複訪電影」。從1960 年代到1980 年代，「複訪 電影」所顯現的時代語脈縱然有所差異，但它們之間由於交織著 一些共同特質而相互輝映。首先，它們皆對經典電影開展明確且 具意識的再創作；其次，其價值不僅展現「互文性」或「反身性」， 更將作品的敘事與形象基調建立在對過去電影的重新創造與反 思、並賦予當代性的這種新作法上；再者，「複訪電影」絕非「重拍電影」亦非「改編電影」，它試圖追尋電影已死但不滅的幽靈 精神，以便記錄、憶念與校閱當代的電影史。 電影遂成為一處複現偉大且具軔性幽靈的所在。2000 年以 來由侯孝賢所執導的兩部外語影片《珈琲時光》（2004）與《紅 氣球》（2007），亦為當代另一波體現電影幽靈的「複訪電影」。 然而台灣導演的作品和之前兩波「複訪電影」有所不同的地方， 在於這位當代亞洲電影大師不只回溯了來自日本與法國的電影 先驅，更進一步將自身的影像命題及影片畫面當作重疊各種不同 類別的影像物質（繪畫、攝影、數位影像等）之表現界面。換言 之，侯孝賢將此一「複訪電影」推展至一種極具當代性的電影創 作方略，進而觸發了電影作為思考「跨影像性」、糾葛著過去與 現在的電影幽靈效應及電影造形性的思想主體。

“Cinema revisited” is an alternative concept and a genre consisting of the history of film theory as well as a cinematic practice. In the history of cinema, cinema revisited emerged for the first time in the contemporary European films of the early 1960s, right after the fall of the golden age of classical Hollywood. French cineastes Chris Marker’s La Jetée (1962) and Jean-Luc Godard’s Le Mépris (1963) are two outstanding representatives. Its second appearance took place during the 1980s when the future of cinema was quite uncertain and it was then that the German cineaste Wim Wenders revived this dissipated “cinema revisited” in his Lightning Over Water (1980) and Tokyo-Ga (1985). The two appearances of “cinema revisited” in the 1960s and the 1980s, despite their spatiotemporal differences, do constitute possible a reverberation thanks to some interpenetrating attributes. First of all, both consciously appropriate and recreate certain acknowledged cinematic canons. The value of this act lies in not only the ideas such as “intertexuality” and “reflexivity” but a kind of audiovisual reconfiguration of, and reflection on, the previous cinematic works in terms of a contemporary viewpoint. Therefore, “cinema revisited” is not just about “remake” or “adaptation”; what it is really after is to be on the lookout for a cinematic phantom, already deceased yet lingering on, by which it can record, reminisce, even review the contemporary film history. Thereupon, the cinema becomes a haunted field where a formidable phantom could represent itself persistently. Since the year 2000, two films directed by Hou Hsiao-hsien, Café Lumière (2004) and Le Voyage du ballon rouge (2007), also embody such cinematic phantoms in the contemporary regard. Nevertheless, the difference between Hou’s “cinema revisted” and that of his forerunners is that he moves away from merely tracing his Japanese and French predecessors and steps further to pose such a cinematic problematique to transform the image into an interface where heterogeneous visual materials, such as paintings, photographs and digital images, etc, could be juxtaposed and overlapped. In other words, Hou’s “cinema revisited” becomes a highly contemporary strategy for cinematic practice; whereupon cinema possesses such a subjective will to reflect on the “trans-imageity”, to manifest the phantom-effect, and to incarnate the cinematic plasticity.