本文对一系列反映北京城市题材的电影作品进行研究，认为随着改革开放的不断深入，现代化与城市化进程的不断加快，社会意识的变革在城市电影中有所反映。这类电影往往将现代化的城市空间表现为“他者性”的，这一特点随着城市化对北京居民社会意识的塑形结束而消隐。本文采用詹明信的“后现代主义”理论对北京电影进行归纳，参考并运用张英进、唐小兵、戴锦华等学者对具体文本的评述与研究，选择《夕照街》、《北京，你早》和《大撒把》三部不同时期的北京电影进行文本分析和比较，通过对人物对白和空间构造的考察，论证“他者性”的存在与否及其揭示的社会意识变革。

This article aims at a series of films with the theme of Beijing City, arguing that due to the penetration of the 'reform and open up', and the acceleration in the process of modernization and urbanisation, transformation of social consciousness was showed as reflections in metropolis films. Modern urban space in such films were often expressed with Otherness, then eliminated as urbanisation process finishing shaping the social consciousness of Beijing citizens. This article shall introduce and classify Beijing films by using Postmodernism Theory of Fredric Jameson, also reference comments and studies in particular texts by Zhang Yingjin, Tang Xiaobing and Dai Jinhua, etc. Comparatively analysing three Beijing Metropolis films, "Sunset Street"(Xi Zhao Jie), "Good Morning, Beijing"(Bei Jing, Ni Zao), and "After Separation"(Da Sa Ba), reviewing their dialogues and space composition to reveal the existence of Otherness and transformation in social consciousness as they showed.