The study focuses on two film directors, Jacques Tati of French and Edward Yang of Taiwan, as well as their specific films which depict urban transformations and experiences. We might classify them separately, according to their geographical and social context, as modern and postmodern styles. Tati's films, especially for My Uncle and Play Time, show clear intention in interpreting the transformation of modern cityscape and imposition of modernity on our daily life. His films imply both nostalgic sensation and dialectic criticism. On the other hand, Edward Yang's film A One and a Two, which won Best Director at Cannes Award in 2000, sports a sincere aura and contemplating perception reflecting on contemporary urban landscape of Taipei city. Its filming of multilayered and diversified social network of everyday life symptomizes a postmodern urban phenomenon. Based on the temporal division of modern and postmodern as discursive framework, the study looks into the social and spatial transformation of the aforementioned three films. It also attests the possibility in employing the temporal framework to help understand urban transformation. On the other hand, the study tries to clarify the often-confused modern and postmodern issues concerning cityscape. The reason of choosing the three films lies on their lucid readability in terms of the transformation of cityscape. 本研究以法國的泰第導演和台灣的楊德昌導演為主題，在現代和後現代的城市景觀裡，根據都市區位和社會涵構，描述其轉型和經驗。在泰第的電影中，明確的以「我的叔叔」以及「遊戲時光」二片詮釋現代城市景觀的轉型和經驗。他的電影亦暗指了懷舊與辯證的論述。再者，楊德昌獲得公元兩千年坎城影展最佳導演的電影「一一」，架構一種真誠的氛圍和深刻的認知，反映了當代台北市的都市景觀，電影裡的多重和多樣的社會網絡和日常生活，是後現代都市現象的徵兆。本研究利用時間性做為主要論述架構依現代和後現代來探討這三部電影中社會和空間的轉型，並驗證這種歷史時間架構在幫助暸解都市轉型的可能性。在當代交錯複雜的都市空間中，本研究的目的也在釐清經常被誤解的與城市景觀相關的現代和後現代議題，而選擇這三部電影的原因則在於其對城市景觀轉型的可讀性。此外，楊德昌導演的另一部電影「恐怖份子」也對台北市都市景觀和社會的轉型做了深刻的紀錄和分析，雖然在此不加論述，但對同類研究很具參考價值。再者，其他導演的電影也常觸及城市景觀中現代性和後現代性的關聯議題，其中較特殊者如蔡明亮的「洞」，或許在現代性和後現代性之外，又呈現了吊詭和曖昧的空間議題，也是同類研究的另一切入點。
