本文嘗試以「人文地理學」(humanistic geography)、「文化地理學」(cultural geography)的理論，探討李昂原著小說〈西蓮〉，以及林正盛電影《月光下，我記得》「場景」差異所延伸之諸多問題。筆者首先對照〈西蓮〉、《月光下，我記得》兩者的異同，分析小說文本中鹿城所呈現出之「封閉」的「地方感」，及鹿城居民的話語運作對小說人物形成之「壓迫」。其次，援引「人文地理學」中「不得其所」(out-of-place)的概念，論述西蓮母女是所謂「不得其所」者。於前述分析後對照電影《月光下，我記得》，筆者嘗試說明，臺東都蘭呈現「開闊」之「地方感」，如何與此片之人物、情節等共同運作，使原著小說〈西蓮〉中之各種元素產生質變。 經本文的析論，李昂小說〈西蓮〉的場景鹿港所營造出來的封閉與壓迫，鹿城居民的話語運作對文本中母女產生之「不得其所」，在《月光下，我記得》片裡被臺東都蘭的藍天綠地所取代，觀眾在此種場景呈現出的地方感中，更體會到劇中人壓抑、擺盪的心理。另一方面，影片藉著光線、溫度與熱度來呈現寶猜情慾的流動；藉由對綠島的遙望、寶猜與朱成的「交談」，和片中跨語言、跨文化的符號交織運作碰撞，我們在擺盪的「遷徙過程」中發現臺灣的歷史，同時以一種溫柔、深刻的凝視靠近女性的生命經驗，以及上述兩者激盪出的詮釋空間。文章最後，藉由《月》片進一步思索臺灣電影在世紀之交的空間／地方轉換，透過「空間式的」、「文化地理學」的思考，似乎能夠窺知新世紀臺灣電影創作上的路徑與變化。

By appropriating theories about humanistic geography and cultural geography, this essay aims to probe the differences, especially on spaces and places, between Li Ang's novel "Xi-lan" and the adapted film The Moon Also Rise directed by Lin Cheng-sheng. Firstly, I would compare the two texts and focus on the sense of place shown in the novel, then, explore how the displacement of space/place could be understood in The Moon. Furthermore, I analyze the role that "place" plays in the film and the way we interpret the film under the notion of cultural geography. To me, the sense of place takes an important role and brings about the narrative variation in The Moon. On one hand, we viewers experience the oppression of the female protagonists and the desire of Bao-Tsai through the representation of hot, light-overwhelmed Du-Lan. On the other hand, via the special historical implication, the hybridity of both language and culture, and the symbolic landscape, we contemplate not only Taiwan’s history but lives of the female protagonists in the film. Towards the end of this essay, on the basis of the analysis on The Moon, I take a look at the space/place displacement in Taiwan cinemas of new century and try to consider the meaning of it.