侯孝賢（1947-）在讀了朱天文（1956-）送來的《從文自傳》後，便開創了其靜定
自然的獨特影像風格，與前三部影片迥然不同。作為一個影像創作者，侯孝賢從相隔五
十年的沈從文（1902-1988）筆下，得到什麼啟發？又如何運用在電影拍攝手法中？本
論文預計從侯孝賢的四項影像特質來追述沈從文所帶來的影響——一、長拍鏡頭
（long-take） ；二、空鏡頭（Emptiness） ；三、剪接；四、畫外音；藉此歸結沈從文與侯
孝賢之間的關連，進而得知侯孝賢以「拍出自然法則底下人們的活動」的寫實企圖及人
生態度，與沈從文著實密不可分。

After reading the book, “Cong-Wen’s Autobiography”, sent by Zhu Ten-Wen,
Hou Hsiao-Hsien was then inspired to create a special natural standing image of
his own style, a style completely different from those demonstrated in the 3
movies made earlier. As an image creator, what had Hou Hsiao-Hsien been
inspired by Cong-Wen’s Autobiography, a book released 50 years ago? And how
does Hou Hsiao-Hsien apply the inspiration obtained from the autobiography in
his movie shooting? In this article, we’ll find out the answers from the following
4 aspects, 1: Long-Take,2: Emptiness, 3: Film-Editing, 4: Implication
Communicated by Drawings, in order to seek out the connection between Shen
Cong-Wen and Hou Hsiao-Hsien and then conclude that Hou Hsiao-Hsien is
closely related to Shen Cong-Wen if we look at the realism, attempting to shoot
human being’s activities under natural rules”, disclosed in his behaviors and
attitude toward life.