在杨德昌电影中,从威权到消费时代的父子认同,均呈现出角色反向与界限模糊的面目。在自我中心主义的取舍中,成熟稳重的父辈逆行童稚,秉性稚嫩的子辈却成熟奋起,凸显为童稚的灵光。父辈与子辈的张力书写,共同彰显出童稚与文明关系中的现代性突围。 In Yang Dechang’s films, both father and son, from authoritarian to consumer age, have shown the opposite of their roles and their vague boundaries. In the choice of egocentrism, mature and stable parents retrograde innocent, innocent children mature but rise, highlighting the childish aura. The tension written by fathers and elders jointly highlights the breakthrough of modernity in the relationship between childishness and civilization.