本文认为詹姆逊以对于台北本土性电影书写的诠释,试图为其后现代主义文化理论寻找一个注脚。尽管詹姆逊透过电影《恐怖分子》的阐释,为重绘台北的现代性经验提供了一种另类的、颇富潜力的分析模式,然而,由于詹姆逊并未十分遵守客体性优先原则,且选取的参照尺度是脱离台北经验的内地电影和西方文学,导致其结论难以令人信服。本文建议,一方面可以考虑吸收詹姆逊总体性亦即全球化语境的观察视角,另一方面,必须将台北放置在自身的历史文化脉络中加以考量,如此,才有可能达到一个对台北现代性如其所是的理解。 This article argues that Jameson attempts to find a footnote for his postmodernist cultural theory by interpreting Taipei native film writing. Although Jameson provides an alternative and potential analytical model to redraw the modernity experience in Taipei through the interpretation of the movie “Terrorists”, however, since Jameson did not abide by the principle of object priority , And the reference scale chosen is the Mainland’s movies and Western literature that have left Taipei’s experience, making its conclusions unbelievably convincing. This paper suggests that on the one hand, we should consider absorbing the perspective of Jameson’s generality, that is to say, the context of globalization. On the other hand, we must consider placing Taipei in its own context of history and culture. In this way, Modernity is as it is understood.