本篇論文主要透過布宜洛(Lawrence Buell)與貝瑞(Windell Berry)對「環境想像」與「地方意識」提出的研究架構與辯證，分析導演王童電影一九九二年的電影作品《無言的山丘》。論文主要分三部分，第一部份籍由布宜洛對各家理論詮釋的耙梳，歸納地方與環境想像的定義與關係，釐清地方意識認知的異同，闡釋地方本身即爲主體，有彈性論述空間，不能化約成任何單一解釋，並進一步分析地方概念如何像年輪般向外延展、累積，從個人對周遭環境的感知延伸出更包容的文化與想像的詮釋。第二部分進入《無言的山丘》油菜花田、大海、礦坑、阿助和阿柔夢想中的農地等自然影像，討論哪個地方才是導演要表現的主體，再以老阿伯講古讓兩兄弟尋夢故事在土地延續下去爲例，論述說書人象徵的文化表達形式與油菜花田象徵的原初自然意識何以成爲本片不斯辯證的主題。第三部分則進一步對照陳凱歌《黃土地》的「返回自然」意識，說明自然意像的緘默性暗含文化抗議性，以自然畫面爲主體的影片不能忽略其歷史脈絡的探討；最後以黑澤明《夢》的生態觀點比較作結，說明王童導演如何以文化表達爲形式，以自然爲內涵，讓文化與自然媒合，延展出寬廣的環境想像。

This paper aims at the discourses of conceptualizing ”plan” and ”environment,” applying the research structure and debates raised by Lawrence Buell and Windell Belly in order to analyze Taiwanese director Wung Tong's film ”Hill of No Return.” Three parts are structured in this paper. The first part sorts out the definitions of ”place” and ”environment,” differentiating the cognition between ”sense of place” and ”environmental imagination,” in attempt to clarify that the idea of ”place” itself is the subject with multiple identities, rather than a fixed or singular interpretation. The second part deals with the natural images in Hill of No Return-rape, ocean, pit, and the remote farmland the male and female protagonists dream of, in quest of the　subject the director tries to present. Since the old storyteller's story has been　penetrating the film, the storytelling itself being a form of cultural representation, the spirit of nature and land been lasted, the third part further applies ”Yellow Earth” and ”Dream” as the comparison to scrutinize the concept of ”Return to Nature” This is an approach of the concept of nature's silence, through which the interconnection between nature and culture can be reestablished.