Ⅰ·杨德昌的三部近作《青梅竹马》(1985)、《恐怖分子》(1986)、《牯岭街少年杀人事件》(1990)无一例外地将镜头落在一个关于社会的批判—忏悔的主题上。尽管其关注的角度不同,范围不甩,但他的政治立场、文化态度始终是一致的,始终保持着一个社会叛逆的形象。如果“青梅竹马”在李白心中,充满了温馨、无邪和天真的烂漫,那么,在杨德昌的《青梅竹马》中却全然体验不到李白的情境,甚至连琼瑶—汪国真们的那种迷人的爱意、潇洒或者情窦初开的缠绵也没有。《青梅竹马》关注于冷漠、孤独、破碎、矛盾、烦躁、无助、平淡而苦楚的世界。这是一个被人们称为正在实现现代化或者正“由农业社会进入工业化转型期”的世界。或许 I. The Three Recent Writings by Yang Dechang, “Childhood and Melancholy” (1985), “Terrorists” (1986), “Kuling Street Juvenile Homicides” (1990) all took the lens of criticism of society as a theme of confession on. Despite his different perspectives and scope, his political position and cultural attitude have always been consistent and a social rebellion has always been maintained. If “sweetheart” is full of warmth, innocence and innocence in Li Bai’s heart, Li Bai’s situation will not be fully experienced in Yang Dechang’s childhood memories. Even the charming love of Qiong Yao and Wang Guozhen , Casual or love the beginning of the lingering did not. “Childhood sweetheart” focus on apathy, loneliness, fragmentation, contradiction, irritability, helplessness, dull and painful world. This is a world which people call “modernizing” or “transforming from an agrarian society into an industrialized one.” perhaps