本文試圖聚焦東亞全球化之文化形式，從藝術再现社會的角度切入，檢視三部當代華語電影再现的東亞多重现代性經驗。藉此說明影片中之反成長叙述如何暗喻東亞社會過往十年，在全球化變勤下大规模被「剝奪」(dispossession)的情境。文中討論的青少年電影所呈现的不僅是E世代的問题、更在象徵層次上提供了一個有力的場域来觀察全球化的特性、讓我们理解社會步入资本全球化階段的割烈轉變，所造成的文化身份與角色認同的错亂失序舆摸索想望。全文共分三部分：第一部分討論三部影片如何再现當代東亞全球化時空下的都市重建舆消费主羲；第二部分說明在全球化脈絡下主人翁的反成長故事；第三部分檢視反成最的故事之於多重现代性的意羲。本文希望說明這三部電影針對東亞多重現代性提供了啟發式的詮釋(suggestive interpretations)。影片透過象徵符號来摸索定位全球资本擴张在東亞造成的急遽變勤，雖然只是虚構的故事，但藝術再现的各種象徵能攘我們理解身處東亞多重现代性的複雜境遇。

Examining the multiple modernities in East Asian society as represented in three contemporary Chinese movies, Mahjong/Couples, Unknown Pleasures and Hollywood Hong Kong, this paper discusses the complexity of East-Asian urban culture amid waves of globalization. The anti-bildungsroman narratives in these three films imply how the state of ”dispossession” has been all the rage in East-Asian communities over the past decade, during a time of severe changes brought about by globalization. These films not only reflect problems faced by the urban youngsters, but also, in symbolic ways, are themselves a perfect medium to observe the features of globalization. The first part of the paper discusses how the three films represent urban redevelopment and consumerism in contemporary East Asian context. The second part focuses on the protagonists' anti-bildungsroman experience in the globalized environment. The last part explores the significance of the anti-bildungsroman narratives in relation to multiple modernities in the era of omnipolitanization.