2008年台北市電影委員會的成立，及台北市文化局補助電影製作案的推行，象徵著台北市政府對於電影作為城市行銷方式採取的積極作為。本研究試圖探究此一因應全球化所引發的城市行銷風潮，在政府正視與政策鼓勵的大環境影響之下，電影中的台北城市空間呈現之樣貌。透過回顧文獻與資料蒐集、分析主要文本，及相關之深度訪談等方式，以台北市文化局補助電影製作案之影片為研究對象，進行分析探討。 　　研究顯示，台北市政府文化局行銷台北意象之補助政策，與台北市電影委員會之協拍服務，皆對於電影中的台北城市空間呈現造成影響，並形成一種台北城市空間的新興體驗方式。由於行銷台北意象之政策訴求，使得電影中的台北城市空間產生了觀光化的趨勢；對於具有獨特性的台北意象之鼓勵，使得台北城市空間在影片呈現上更趨多元。而台北城市空間與其影像呈現，便在互動的過程中，交織成一個不斷變化的動態結構。台北市電影委員會的協拍機制，使得電影中的台北城市空間，能有不同以往的呈現角度與宣傳可能。台北市文化局對於國際合製的政策鼓勵，亦使得電影中的台北城市空間得以納入多樣的思考觀點，並在海外電影城市行銷上取得先機。行銷台北意象之政策與宣傳方式，則促成了台北城市空間之新體驗。電影作為城市行銷工具，不僅帶動觀光效益，亦使得同時體驗真實與電影城市空間成為可能。而透過網路聯結的電影場景與台北城市空間，則能藉由影像賦予城市的不同氛圍，體驗電影為台北城市空間帶來的多樣感受。 / In 2008, Taipei City Government showed a positive attitude towards film as a city marketing strategy by offering film subsidies and establishing the Taipei Film Commission. This research attempts to explore the cinematic city space under incentive policies to the wave of city marketing in accordance with globalization. The subsidized films would be subjects of study, analyzed by using literature review, textual analysis and semi-structural interviews as research methods. 　　The result of the research shows that incentives made a great impact on the cinematic city space of Taipei and formed a new way of experiences. As a result of the policies of marketing Taipei, the cinematic city space of Taipei becomes Tourist-oriented as well as promotes unique images of Taipei. The interaction of city development and cinematic city space of Taipei interlace a changeable dynamic structure. The active support of Taipei Film Commission helps to make the cinematic city space of Taipei differently in shooting and publicity. Transnational co-production of film policies subsumes various points of view and heads start in city marketing overseas. Film as a tool of city marketing not only drives tourism benefits, but also realizes in experiencing real and cinematic city space at the same time.

《無有鄉》(Neverwhere, 1997)原為BBC迷你影集，後經由作者尼爾‧蓋曼(Neil Gaiman)改寫成小說，書中主角理查‧馬修(Richard Mayhew)因拯救朵兒(Door)而被迫開始探索他前所未知、無從想像的倫敦空間，也就是倫敦下層(London Below)。此倫敦空間充滿暴力混亂，顛覆理查對原有倫敦的想像，也將他帶離熟悉的畛域，雖然倫敦下層的事物希奇古怪，卻又詭異的與倫敦上層互相指涉，也使理查此旅行充滿詭異怪誕(uncanny)。此論文意旨爬梳倫敦城市空間的複寫性和其造成的詭異、探討理查馬修漫遊者(flâneur)形象以及理查結尾做出的看似自由卻又充滿侷限逃逸線(line of flight)。 / In Neil Gaiman’s first novel Neverwhere, adapted from the original namesake BBC television serial, the protagonist Richard Mayhew is a forced traveler, exploring the territory of imaginary London Below, in which Richard fails to grasp the sense. The “London Below,” the buried and repressed past by the “London Above,” is full of chaos, violence. Observing the invisible cities of the multiple other which used to escape his unitary way of seeing, Richard’s vision of the familiar/homely city gets blurred, defiant. However, events in London Below always disturb but at the same time uncannily refer to those of the London Above, which makes his journey in London Below an uncanny one. This thesis is going to discuss palimpsestic London space and the role of Richard Mayhew as flâneur and Richard’s final decision as a line of flight.

本篇論文主要探討1880至1930年代英國女性作家所再現的性別化空間。女性逐漸在十九世紀末倫敦的公共空間嶄露頭角，扮演各種不同的重要角色，舉凡上班族、消費者、俱樂部會員、電影迷、行善者及觀光客等都是當時女性公共形象的最佳例證。然而這些跨越公/私領域界限的女性漫遊者迄今都未獲得學界足夠的重視。女性漫遊者在世紀末文學研究中長期遭受忽視主要肇因於早期學者對於十九世紀男主外、女主內的公/私領域劃分大致認同，未能加以批判。透過檢視艾蜜‧列薇 (Amy Levy)、桃樂斯‧理察森 (Dorothy Richardson) 以及維吉尼亞‧吳爾夫 (Virginia Woolf) 等三位女作家的跨文類書寫，本篇論文指出世紀末的中產階級女性已逐漸掙脫傳統私領域以及家庭意識形態的束縛，開始在城市空間行走與觀看。在十九世紀末許多新興的大城市例如倫敦，如此的女性公共行走則又更加顯著並且和日益蓬勃發展的商品文化、大眾消費/享樂以及公共空間皆有極密切的關聯。流動 (mobility) 與觀察 (spectatorship) 因此成為中產階級女性在城市空間行走與觀看時的重要經驗，前者來自於女性在日益開放的公共領域遂行的空間探索，後者則是來自女性觀察者對於城市景觀例如商品展示、來往的人潮以及繁忙的街景所做的視覺凝視。經由書寫世紀末的女性城市漫遊，上述三位女作家明確地指出這些表面看似被動的中產階級女性其實早已跨越傳統空間限制，不斷挪用與創造新的城市公共空間。 / This study has examined the numerous roles played by women entering the public spaces of London in the half century from the 1880s to the 1930s as workers, shoppers, diners, clubbers, cinema-goers, philanthropists, and tourists, a wide spectrum of active female social actors that until recently have not attracted enough attention from scholars of late-Victorian and Edwardian literature. The neglect of these newly pubic women in the fin de siècle period, who are distinct from their home-bound Victorian predecessors, is largely ascribed to an uncritical acceptance of or surrender to the long-held, dominant assumption of separate spheres in the nineteenth century. Through examining the writings of Amy Levy, Dorothy Richardson, and Virginia Woolf, who portray the multifarious pictures of women rambling the streets of modern London, this study has demonstrated that female public visibility and mobility have at least since the fin de siècle period been commonly practiced by a conglomerate of middle-class women. Mobility and spectatorship are thus two significant tropes applicable to women’s spatial and visual explorations of the fin de siècle city, the former underscoring their meandering footsteps threading through the increasingly egalitarian public space while the latter their roving eyes casting glances at those enticing urban spectacles which are already a phantasmagoria of commodity display, jostling crowd, and bustling streetscapes. Through writing about fin de siècle female streetwalking, the three women writers have demonstrated that those seemingly passive women of the middle-class may indeed be capable, through their public presence and their incessant footsteps, of pushing at the established boundaries.

改革開放後，上海市在中共中央的規劃下，希望於二十一世紀時成為國際經濟中心的城市；然而，上海市的城市功能定位自 1949 年後由國際外向型經濟中心轉為國內型生產城市，城市功能、空間佈局亦隨之改變。卻成功達成「以上海浦東開發開放為龍頭，進一步開放長江沿岸城市，盡快把上海建成國際經濟、金融、貿易中心之一，帶動長江三角洲和整個長江流域地區經濟的新飛躍」的發展目標，城市佈局的重建可說是支撐上海市實現其目標的基礎。 本論文嘗試就外商直接投資（第二章）、地方政府行為（第三章）及房地產（第五章）三個角度探討上海市城市空間變化，也試著探討政府、外資及房地產三者間彼此的互動與影響。而從分析的過程中發現，中國大陸欲引進外資解決其資金缺乏的問題，以各式優惠的政策來吸引外資；外國投資者看重的是中國大陸廣大的市場。上海市同樣面臨資金缺乏的問題，為進行城市空間的改造與建設，上海市藉舊城改造、新區開發及住房改革等因素形成的房地產吸引外資的投入，三者間形成巧妙的互動與影響。 　　經濟與政治間的角力在上海市生動的呈現，上海市為了資金的到位，變更了原有的城市規劃設計，外商為了獲利願意配合政策投資獲利極小的平價或動遷住宅，在互相協商、較勁後，可以發現上海市再從計畫經濟轉軌至市場經濟時，經濟利益的影響雖大，但仍未能掌控上海城市空間的發展。相對的，上海市政府卻實際巧妙的利用外資進行了城市空間的重構與發展，同時也獲得了所需的資金。

當代英國小說家吉姆‧克雷斯 (Jim Crace) 在《阿卡迪亞》(Arcadia, 2008)這部城市小說中，以一位隱身人群的專欄作家為敘述者，從城市居民的心理為出發點描寫城市空間，並以傳統露天市場被改建為一現代化購物商場之事件為主軸，刻劃城市居民經歷生存空間遭強制改變的衝擊之後，仍然找到適應的方式和創造空間運用的可能性。本文主要採取甄克斯 (Chris Jenks) 對城市漫遊者 (flâneur) 的論述，以及情境主義的心理地圖 (psychogeography)、漂移 (dérive)、異軌 (détournement)、及景觀 (spectacle) 的理論概念，剖析克雷斯如何以都市漫遊文本，呈現人和空間的互動，凸顯城市居民和其生存空間實為一生生不息的有機體，並揭露都市空間規劃背後暗藏視覺操縱，藉以反對空間商品化和景觀化。論文第一章主要借助甄克斯的都市漫遊者論述以及情境主義的心理地圖和漂移理論，闡述小說敘述者打破心理和地理的界線，以不同的人物心理呈現一幅城市拼貼。第二章以異軌理論為出發點，闡釋此小說將阿卡迪亞的文學概念和都市公共空間議題並置，一方面解構溫室和商場中的鄉村實為自然的複製品，另一方面強調城市生命力在於多樣性以及居民與空間的互動。第三章援引情境主義的景觀概念，著重討論社會關係和城市的空間生產被資本主義塑造的景觀所滲透控制，並強調敘述者以漂移和異軌的空間實踐與其對抗之外，也刻劃了都市居民在景觀的控制之下，仍然找到新的出口，保有空間運用的自主性。 / Jim Crace’s novel Arcadia delineates a city from the perspective of human mentality by means of an incognito critical social observer. The displacement of a modernized shopping mall for a traditional open market is the most important incident that causes a great impact upon the urban people. In this thesis, I would like to use Chris Jenks’ analysis of the flâneur and situationist concepts of psychogeography, dérive, détournement, and the spectacle to analyze how Crace presents the interaction between man and space which is threatened by the visual manipulation hidden behind urban planning. He also points out that urban inhabitants and their living environment form an organic whole that will keep evolving through their mutual influence. Applying Jenks’ discussion on the flâneur and situationist concepts of psychogeography and dérive, I would first show that Crace breaks the boundary between psychology and geography to present a collage of different interpretations based upon several characters’ mentalities. Then, the construction of the new shopping mall named Arcadia brings up the juxtaposition of the topos Arcadia and the issue of urban public space. With the practice of détournement, the narrator deconstructs the countryside in the shopping mall as the duplication of nature and emphasizes that the life of the city does not reside in the spectacular sites but in diverse and mutual interactions between urban space and its inhabitants. With spatial practices of dérive and détournement, the narrator not only criticizes that both social relationship and urban space are saturated with separation caused by the spectacle, but also makes known that urban people still hold the autonomy of creating alternative spatial use even under the dominant representation of the spectacle in the city.

中國做為一個崛起的東亞大國，對於建立自己的高科技產業與自主創新能力的急起直追也經歷了許多轉變的過程，這些演變體現在中央領導的科技政策與區域建設的創新系統上。自1988年的北京市新技術產業開發試驗區以來，從沿海到內陸所設置的大大小小的科技園區，在在說明了中國希望藉由這種模式追求創新集群的效益。然而本研究中的北京中關村做為中國的高科技產業龍頭，其空間發展出現了有別於其他東亞後進國家中科技園區的分散樣貌。這樣的空間樣貌乃基於地方治理結構的特殊性，演化出各個分散在北京市下不同市轄區的園區都被稱為中關村科學園區、都各自建立起華麗而昂貴的辦公大樓、研發中心之現象。 本研究欲透過回顧中國的科技產業政策以及地方治理模式的轉變，來說明這樣的分散樣貌，是源自於中國在改革開放後的地方治理權責下放導致北京市轄下的各區縣都採用了一種近似於滾動開發的模式來大興土木以追求快速的成長的情況。換言之，在中關村，土地開發帶來的多階段收入在地方政府的眼中的重要性幾乎超越了對創新能力的追求。本研究將以上述脈絡為主旨，深入探討中國在全球化的壓力以及治理結構轉型過程的拉扯下，致使中關村的發展進入到一種看似快速但卻相當矛盾的情結當中，並進而勾勒出現今中關村的空間樣貌。 / China has been trying to catch up with the Western world since its economic reform. In the process, China imitated the successful experience of Silicon Valley in the U.S. and trying to establish special science parks to speed up technological upgrading and innovation. Beijing’s Experimental Zone for Developing New- Technology Industries, which later was named Zhongguancun(ZGC), was the first one following this policy and proven to be the most successful one in China. However, the prosperity of ZGC or any other science park in China does come with a price. There is a lot of problems raised referring to the highly growing land price such as the overwhelming high rent has affected smaller innovative enterprises to survive in Beijing. The thesis tries to discuss the production of space in Beijing’s ZGC through two theoretical views: The Innovation Theory and The Growth Machine Theory. This thesis argues that there are two different forces which have driven ZGC to its status today. The first is China’s overall goal of economic catching up strategy that gives ZGC the legitimacy to develop and grow with relatively greater freedom from existing regulations. The second is Beijing’s various district governments’ strategy in using the construction of science parks as a site to generate economic development. This thesis argues that China’s tax reformation in 1994 has reinforced the importance of land politics to a higher level, through which the development of real estate sector of ZGC has played an important role for the creation of an innovation cluster. As a result, the local government, together with its land politics, eventually plays the leading role in ZGC’s production of space and makes the best use of ZGC’s shining brand.