本文藉由《蘇州河》與《月蝕》中的「魅影姊妹」角色設計，一方面檢視中國城市所蘊含的豐富記憶，一方面探討後社會主義中國女性在球資本主義與現代化過程中顛沛的命運。其次，透過魅影姊妹與《姊妹花》裡孿生姊妹的跨代聯結，本文進一步思考都市記憶、電影歷史、現代性與可再現性等議題。最終，作者提出「觸感電影」的概念，思索電影對觀眾的情感潛能，並指出《蘇州河》所具有的獨特社會意識。

As a cinematic motif, the metropolis of Shanghai has served as a compelling context in which the real and the fantastic, the everyday and the uncanny intertwine. This is especially evident in recent films that feature twins and the “phantom sister,” such as the Suzhou River and the Lunar Eclipse. Employing elements of melodrama, thrillers and traditional Chinese ghost narratives, these films convey the shattering effects of globalization, not only upon the Shanghai cityscape, but upon the personal and psychological lives of its residents. In imparting a heightened awareness of contemporary urban life, the author argues, these films also demonstrate a tactile sensibility, one which highlights a phenomenological politics and poetics of memory, affect and connectivity.