本文以電影《團圓》為核心文本，探討大陸電影中的台灣影像，並討論包括《海魂》、《情天恨海》、《廬山戀》、《雲水謠》等影片。本文分析這些影片背後的「情感結構」，指出它們如何被不同時期的主流意識形態所操作和利用，由此展現出一幅從冷戰時代在政治上定義價值區別，到後冷戰時代的去政治化、尋求全球化普遍性情感認同的過程圖景。本文認為這種後冷戰的團圓敘述，以情感為訴求，有效超越了政治與意識形態上的區隔，帶來「大和解」或者「歷史終結」的表象，但並不能真正促成和解。同時，本文分析《團圓》中上海與台灣的「雙城記」，分析影片所呈現的都市空間，以及這種呈現所展示出的台灣表徵意義。

This article discusses the Taiwan narratives and representations in mainland Chinese film Apart, Together and other films such as Soul of the Sea, Love and Hate, Love on Lushan Mountain, and The Knot. The study explores the structures of feeling in these films and tells how they were manipulated by mainstream ideologies in different periods. Such analysis shows a clear process that value was determined from politically in cold war time to de-politically with universal sentiment and globalized identification after cold war age. Such post cold war reunion narratives effectively transcend the political and ideological separation by a new kind of universal sentimental appealing, and bring a seemingly great reunification and ending of history. However, if we are complacent with such narrative strategies, we shall conceal something that has long been overlooked without deep reflection, and miss the opportunities of true reconciliation. Meanwhile, this study will talk about the two-city tale of Shanghai and Taiwan, analyzing how these films visualize urban space and how that visualization shows the symbolic meaning of Taiwan.