王家衛在《 2046 》中呈現 60 年代懷舊氛圍與後現代多語／音的未來世界，這兩種迥異的影／音風格，看似對立與矛盾，卻凝聚一種絕佳的戲劇張力，懷舊情愫與科幻想像的不連貫敘事影像美學，在搭配獨特的音樂與語言後，反造成獨樹一格的影音魅力。本論文即以「音軌」為出發點，來討論其與「影像」之間的關係，並援引班雅明、布西亞、與詹明信等人「懷舊」的論述，探討《 2046 》中懷舊與科幻交織的多元景象。此處的「影像」係指《 2046 》影片中 60 年代的場景、 67 暴動歷史事件與《 2046 》、《 2047 》兩本後設小說的科幻世界；而有關「音軌」的論述擬探討導演在《 2046 》影片中運用多種語言與各式音樂、音效所烘托出懷舊的 60 年代與未來想像的世界。王家衛透過語言、旁白、音樂及想像共築的音像，提供一種視覺與聽覺上既抗衡又互補的美學觀，點出無法言喻的懷舊情懷，恣仿出香港律動的音符與特異的文化影像。

As one of the famous art film directors, Wang Kar-wei’s 2046 thraws expectation on the visual level through his use of music and language to build up his visual notes by juxtaposing the contrasted world of the nostalgic 60s and futuristic kingdom. His movie subverts certain widely accepted norms between the new and the old. This paper examines the intricacies driven by thematic issues as nostalgia, memory, and identity through the interplay of music, languages, and visual images. Generally speaking, his visual motif works effectively in two ways, first, it emphasis on the passage of time as an elastic continuum filled with myriad perceptual possibilities, either be a futuristic era or nostalgic 60s. Second, it encourages the audience to contemplate the meaning of sound and its relation to the visual image. However, the sound could be music or language as it is so dynamically depicted in 2046, and it helps to undermine the ideological perception of time--by extension, the foundation of genre of nostalgia.