本文挪用昂希‧列斐伏爾的空間三元體(triad)以及大衛‧哈維對於現代性的分析，探討哈尼夫‧庫雷西的電影劇本及同名電影──《山米與蘿西上床》中現代主體的空間爭奪。哈維指出現代性經驗既追求易變又冀望不變。審視哈維的觀點與列斐伏爾的空間三元體，便可看出空間實踐、空間再現、與再現空間都飽含現代性的雙重性格。據此本文主張劇本中的角色，無論作為壓迫的統治者、政治經濟上的無權者、或是反叛性格強烈的中產階級，都設法爭奪空間，建立認同，以對抗(後)現代中的無常及不確定。本文也指出將官方與民間二分為空間的壓迫者和被壓迫者是可議的。以前述理論觀察本劇兩個國家主義的政權、群情激憤的暴動群眾、以及排他性強烈的左派中產階級，可以理解政府的領導者為何成為私人空間中的被壓迫者，而被壓迫者的代表，例如暴動的下層階級，或是激進的中產階級，如何為了自身利益犧牲或區隔他人空間。最後本文指出，為提供烏托邦式的解決方法，庫雷西創造了一群游牧的次文化者。他們協調現代性中流動及恆常的兩大面向避免空間的爭奪。

Drawing on Henri Lefebvre's triad of conceptualized spaces and David Harvey's analysis of modernity, this paper delves into the spatial contestations of modern subjects represented by characters in Sammy and Rosie Get Laid, Hanif Kureishi's screenplay and a film of the same name. Harvey insightfully centralizes the experiences of modernity that tend to orient the ephemeral while securing the immutable at the same time. Juxtaposing this insight with Lefebvre's dissection of the space into spatial practices, the representations of space, and representational spaces, I find each is saturated by the double edge of modernity. Based upon this, this essay anatomizes how individuals in this screenplay, whether as oppressive governors, the economic-political powerless or the defiant middle class, contest spaces to ensure a demarcated identity against all the mutability and uncertainty in the post/modern condition. This essay also renders the dichotomization of the officials and citizens as the spatial oppressors and oppressed dubious. Lumping together two nationalistic regimes, the unjustifiable violence of the oppressed rioters, and the exclusive desire of the leftist bourgeois together in terms of their usage of space, this study argues that governmental figures can be the oppressed in the private spaces, and the oppressed or excluded, such as rioters and radical bourgeoisie in this case, turn to be oppressors contesting spaces for their personal benefits. In this sense, a utopian solution for space usage has to negotiate the shifting and fixing dimension of modernity, as Kureishi has incarnated it by his nomadic subculturalists.