南來作家劉以鬯吸收海派小說傳統並將之在地化，成為王家衛汲取上海記憶和香港經驗的重要源頭。王家衛將前行作家文本視為引發靈感的媒介，挪用原著意念發展為新文本，運用獨特的電影語彙訴說香港故事和上海懷想。王家衛的影像處理將劉以鬯小說新穎的形式技巧刨光發亮；然將其歷史意義與批判性消解，留取華麗頹靡的生活情調。王家衛對歷史的曖昧態度，較接近張愛玲以個人記憶凌駕大歷史敘事的方式，同樣著重情愛描寫與生活質地的鋪排。本文探討劉以鬯和施蟄存小說與王家衛《花樣年華》、《2046》、《愛神．手》之互文關係，進而勾連港滬雙城的影文連繫。

Liu Yi-Chang, the representative of writers from Mainland China, crystallized the tradition of Shanghai-style novels and localized the style. Liu’s work is an important source of Shanghai memories and Hong Kong experiences for Hong Kong film director Wong Kar-wai, who draws from these texts to create new stories and nostalgia about Shanghai. Wong Kar-wai developed Liu’s new style of novel writing in his films, in which historical and critical significance is replaced by glamorous and decadent lifestyle. Wong’s ambiguous approach to history is close Eileen Chang’s narrative style, in which the importance of personal memories is always placed above the grand history, a style that focuses greatly on the depiction of love relationships and the elaboration of the essence of daily life. This essay will discuss the intertextuality in Wong’s In the Mood for Love, 2046, and short film “The Hand” in Eros. The paper will further illustrate the connection between Shanghai and Hong Kong as captured in films and fiction.