當導演以他自己的故事為電影題材時，他的電影究竟喚起他何種記憶呢？本文從《最好的時光》這部電影中的一個音樂錯置問題出發，嘗試從德希達的「檔案熱」來理解電影與記憶的關係：透過德希達對檔案的觀點，電影所召喚的記憶絕非所謂的「真實資料」，而是潛藏在真實資料背後、不可見的「陰影檔案」。而從德希達對「夢的邏輯」的詮釋，本文亦試圖指出唯有當電影成為創作者的夢，創作者才能成功召喚他所期待的記憶。

When a director makes a film according to his life story, what memory does he intend to recall? Starting from a concern for a musical goof in the film Three Times, the article seeks to explore, by means of an approach based on the Derrida’s “archive fever”, the relationship between film and memory. According to Derrida, the memory that a film attempts to recall is definitely not “real information”, but the invisible “shadow archive” hidden behind the information. Finally, in terms of Derrida’s discussion on the logic of dream, this article also points out that a film director cannot recall the memory he expects unless the film becomes his own dream.When a director makes a film according to his life story, what memory does he intend to recall? Starting from a concern for a musical goof in the film Three Times, the article seeks to explore, by means of an approach based on the Derrida’s “archive fever”, the relationship between film and memory. According to Derrida, the memory that a film attempts to recall is definitely not “real information”, but the invisible “shadow archive” hidden behind the information. Finally, in terms of Derrida’s discussion on the logic of dream, this article also points out that a film director cannot recall the memory he expects unless the film becomes his own dream.