殘酷與致命的幫派暴力在世界電影中是常見的慣例，然而侯孝賢電影中所 呈現的幫派暴力常是瑣碎與可悲的挫敗，完全對比於世界電影傳統中所見到的 強悍、無敵、俐落與常見的帥氣幫派英雄制服敵手的橋段。如此的對比差異並 不僅止於角色與劇情的刻畫，而更是最根本地經由不同的暴力美學而展現，這 使得侯孝賢的幫派暴力美學有著迥然不同且獨樹一幟的風格。透過深人檢視《悲 情城市》（1989)與《南國再見，南國》（1996)兩部片中的幫派暴力場景，本文 試圖仔細分析侯孝賢作為一個電影作者所呈現的美學風格建立起的獨特幫派暴力美學，並且提出侯孝賢實然創造了「無能暴力」的美學呈現，拓展了世界電影 中幫派暴力美學的版圖。v

Fatal and cruel violence among gangsters is frequent in worldwide gangster films. However, the gang violence of Hou Hsiao-Hsien’s films displays an image of trivial and pathetic failure, in stark contrast to the worldwide gangster film tradition, where tough, invincible, clean-cut and often good-looking heroes overwhelm the forces of evil. This contrast is not just in the depiction of characters and scenarios, but also essentially from the aesthetics of violence, which give Hou’s films a distinct style from their worldwide counterparts among gangster films. Through analyzing the scenes of gang violence in A City of Sadness (1989) and Goodbye South, Goodbye (1996), this essay intends to identify the unique qualities of Hou’s aesthetics of gang violence along with his cinematic styles as a film auteur, and suggests that the gang violence in Hou’s films creates a style of “Impotent Violence” that expands the horizons of the aesthetics of gang violence in worldwide cinema.