如史書美討論陳果電影「香港三部曲」的結論，「後九七」的香港性「是一個與它的殖民地過去和中國性所進行的複雜的談判過程」，或展示了「殖民─後殖民─新殖民的連結上，不確定的位置性」。一九八○年代與香港電影產業互相競爭的台灣電影，近十年來兩地影業卻又開始較為頻繁的合作，例如，我們可以看到鍾孟宏電影中，啟用杜汶澤、王羽和許冠文等香港明星，以帶有香港／廣東腔的國語在銀幕上本色演出。本文藉由分析鍾孟宏劇情片《停車》、《失魂》與《一路順風》，探索香港與台灣重層的跨國影像軌跡、港台跨語攝製與亞際互文性。此外，本文指出鍾孟宏電影敘事縫合香港明星寫實表演與後殖民情境，以華語語系雜音現身／聲於台灣電影銀幕上，回應了近年港台兩地曖昧的情感政治橫向連結。最後，透過分析鍾孟宏電影中這些語音混雜的情況不僅體現了一種港台新的文化認同，並有助於適度修正華語語系的研究框架

In her discussion of Fruit Chen's ＂Hong Kong trilogy,＂ Shu-mei Shih concludes that Hongkongness after 1997 ＂is a complex process of negotiation with its colonial past and Chineseness, as well as its uncertain positionality within the colonial-postcolonial-neocolonial continuum.＂ The Taiwan cinema industry witnessed a transformation in the 1980s in response to the growing popularity of Hong Kong Cinema. Two decades later, however, film industries in Taiwan and Hong Kong began to collaborate more and more, especially in movie stars. For example, Hong Kong Film actors in Chung's films such as Chapman To, Wang Yu and Hui Koon Man, all speak mandarin in Hong Kong/Cantonese accent on the screen. This article thus proceeds to explore the transnational trajectories in contemporary East-Asian cinemas by examining Taiwan director Chung Mong-hong's three films, namely Parking (2008), Soul (2013), and Godspeed (2016). This paper addresses the complexity of the post-colonial situation of Chung's cinematic narratives by reconsidering and reconfiguring the mode of Hong Kong film actors' realistic performance with their various local accents. The article contends that the use of linguistic dissonance in Chung's films resonates the ambiguity of political emotion between Hong Kong and Taiwan. Such dissonance embodied in Chung's filmmaking not only suggests a new kind of Taiwan-Hong Kong cultural identity, but also surpasses the restraints of Sinophone studies