楊德昌的電影中常表現著對現代化的適應不良與不確定性，但九○年代之後更是進一步的強調著現代化在都會中所呈現出的負面衝擊。一方面來說，這乃是因解嚴後台灣社會顛覆舊價值的社會氛圍帶來了思想上的多元性，卻也同時讓台灣社會面臨了失去統一標準的迷惘與焦應。另一方面，政治上的解嚴打破了過往強調一致的認同定義，促使台灣社會迫切地重新尋找清晰而穩固的「台灣性」，以重新定義被打破的認同價值。這急欲重新建立認同的渴求，更加深了台灣社會在國際化及全球化影響下，多重現代性衝擊的難解命題。本文將深入分析楊德昌的《麻將》(1996)及《一一》(2000)，藉由檢視其電影中所強調的負面現代化衝擊，導引出現代性與台灣認同議題間的錯綜關係。

The sense of uncertainty and anxiety towards modernity is a recurring mantra that constantly dominated Edward Yang's films. In particular, Yang's works in the 1990s emphasized the negative impacts of modernity on Taiwanese urban scenes. The repeal of martial law in 1987 provided Taiwan the new found freedom to break up with the suppressed and traditional past, yet also led to a sense of anxiety and confusion without standards. The identity crisis was thus incited at every aspect of modem life: individuals, families, communities, societies and ultimately the national identity in the global context. Through examining the overwhelming negative impacts of modernity in Edward Yang's Mahjong (1996) and Yi Yi: A One and A Two (2000), this paper suggests the negative impacts of modernity in Yang's films have further made Taiwanese identity crisis surfaced and displayed anxieties for a secured definition of 'being Taiwanese', or rather 'Taiwaneseness'.