本文從魏德聖的電影《海角七號》出發，嘗試將其中族群共在關係的描寫扣接上台灣客位本體：台灣作為一個連續殖民的移民社會在歷史中冒現的本體構成。本文同時亦是一篇阿甘本研究，自中段起闡釋他理論的整體核心，討論焦點集中在「任何特異」、「臨界」、「範例」、「如是」、「（潛）能」等概念上，並據以作為探論台灣議題的理論參考。由於阿甘本受到佛教龍樹中觀思想的影響，因此本文亦納入對龍樹以及道元的討論，以試驗一種跨思想世界的理論解釋模式，建立佛教與阿甘本思想之間的交通關係。本文最後回到《海角七號》，以例證電影中帶有的台灣多重臨界面向，並據以想像全球化時代台灣作為範例的可能樣態。

This paper starts from an initial discussion of Wei De-Sheng’s film Cape No. 7, trying to base its rendition of inter-ethnic co-presentation on Taiwan’s guest ontology: the emerging ontological configuration of Taiwan qua a settler society of serial colonialism. As simultaneously a research on Giorgio Agamben, this paper subsequently expounds his theory, focusing on concepts such as “whatever singularity,” “threshold,” “paradigm/example,” “as such,” and “potentiality,” which are taken as theoretical reference for the discussion of Taiwan. Additionally, since Agamben is influenced by the Madhyamaka- Buddhist thinker Nāgārjuna, this paper embarks a discussion that connects the two, accompanied by an analysis of Dōgen. The aim is to experiment with a trans-worldly theoretical model by way of conceptualizing possible imbrications between Buddhism and Agamben’s thoughts. Returning to Cape No. 7, the last part of this paper tries to illustrate the multiplicity of Taiwan as threshold, and thereby envisages a way for Taiwan to figure as a paradigm in the age of globalization.