本文透過魏德聖《海角七號》裡時間與空間的關聯性解析傳統歷史敘 事的其他可能性。這部電影不論是藝術表現手法或是敘事層次都試圖跳 脫傳統線性、漸進式、目標化的歷史敘事。透過後現代理論對時間的分 析以及人本主義地理學對地方性的討論，本文分析電影裡的返鄉主題， 解析電影中無法到達的「舊地」的重要角色。文章第一部分探討電影中 日本教師以詭異（uncanny）的方式重返台灣，來處理被壓抑的歷史記憶 和複雜情感。第二部分則探討了台灣近年來電影裡常見的回歸鄉村、小 鎮的主題，在面對全球化經濟壓力之下，《海角七號》藉由召回台灣戰後 「健康寫實電影」所建構出來的理想化的小鎮原型，重新補強以撫慰了觀 眾對於全球化的焦慮，並強化地方認同。藉由這些關於懷舊與歸鄉的討 論，本文試圖探討後現代史觀和地方記憶如何介入修補傳統的歷史大敘 事（grand narrative）。

This article makes the case that Wei Te-Sheng’s film Cape No. 7. presents an alternative to traditional history-writing through its representation of time and space. Both the film’s formal aspect and narrative structure diverge from the traditional approach of presenting history in a linear, progressive, and goal-orientated way. In analyzing the unique presentation of history in Cape No. 7, the article draws upon the discussion of time in postmodern theory and “place” in humanistic geography. The first part of the article focuses on the Japanese teacher’s nostalgic yet uncanny return, which represents a Japanese memory of Taiwan that has often been neglected in the postcolonial discourses. The second part of the article explores the popular theme of “return to the countryside and native home” in recent Taiwan cinema. Cape No. 7 employs the trope of small town in postwar Taiwan cinema, more specifically, the utopian imagery from the 1960s’ “healthy realist film,” in order to alleviate Taiwanese audience’ anxiety toward global capitalism. Through these discussions of nostalgia and homecoming, the article attempts to explore ways in which the film revises the nation’s grand historical narrative.