作为“香港电影新浪潮”的主将，香港电影乃至华语影坛最重要的女导演之一，许鞍华自始至终都在从容不迫地遵循自己在新浪潮时期开启的电影艺术路径，以电影直面苦难和人生，追寻和探问社会问题。许鞍华于新浪潮时期拍摄的影片《胡越的故事》（1981年）、《投奔怒海》（1982年）与电视作品《狮子山下：越南来客》（1978年）聚焦七十年代后期越南战乱中的难民生活，被称为“越南三部曲”。本论文以“越南三部曲”为研究对象，聚焦于“越南三部曲”中的离散经验，从空间的“离散”，人物的“离散”和心理的“离散”三个层面，缕析许鞍华如何在影片中建构起离散叙事。

本论文主要由绪论、三章对于“离散”的讨论和结语三部分组成。在绪论中，对国内外研究现状和越南难民的历史背景进行总结梳理，同时提出本论文的理论与实践意义。本论文主体的第一部分关注影片空间意义上的“离散”，包括离散者地理空间的改变，离散者在城市复杂社会文化空间内的穿行，以及他们对于“乌托邦”这一想象中的乐土的构建。第二部分聚焦影片中个体的“离散”，主要选取难民、杀手和妓女三个有代表性的人物身份，探寻隐藏在个体不幸背后的、离散者集体的孤独与创痛。第三部分讨论影片展现出的离散者身份认同的焦虑与迷惘，同时试图剖析影片文本背后导演许鞍华的文化身份认同与离散经验。最后，在结语中对本论文主要讨论的空间、个体、心理上的“离散”进行总结，探究许鞍华对离散语境下身份认同困境的思考与答案。

As the protagonist of the "New Wave of Hong Kong Film" and one of the most important female directors in Hong Kong film and even in the Chinese language film industry, Xu Anhua has always followed the film art path she opened up in the new wave era calmly, facing hardships and life directly through movies, and pursuing and exploring social issues. Xu Anhua's films "The Story of Hu Yue" (1981), "Surrender to the Sea of Wrath" (1982) and TV series "Under Lion Mountain: Vietnamese Guests" (1978) during the New Wave era focused on the refugee life during the Vietnam War in the late 1970s, known as the "Vietnam Trilogy". This paper takes the "Vietnamese Trilogy" as the research object, focusing on the discrete experience in the "Vietnamese Trilogy". From the three levels of spatial "discreteness", character "discreteness", and psychological "discreteness", it analyzes in detail how Xu Anhua constructs discrete narratives in the film.

This paper mainly consists of three parts: an introduction, a discussion of "discretization" in three chapters, and a conclusion. In the introduction, summarize and sort out the current research status at home and abroad and the historical background of Vietnamese refugees, and propose the theoretical and practical significance of this paper. The first part of the main body of this paper focuses on the spatial meaning of "dispersion" in the film, including the changes in the geographical space of the discrete, the movement of the discrete within the complex social and cultural space of the city, and their construction of the imagined paradise of "utopia". The second part focuses on the "dispersion" of individuals in the film, mainly selecting three representative character identities: refugees, assassins, and prostitutes, to explore the loneliness and pain hidden behind individual misfortunes and the collective of the dispersed. The third part discusses the anxiety and confusion of the identity of the discrete depicted in the film, while attempting to analyze the cultural identity and discrete experience of director Xu Anhua behind the film text. Finally, in the conclusion, a summary of the spatial, individual, and psychological "discreteness" mainly discussed in this paper is provided to explore Xu Anhua's thoughts and answers to the identity dilemma in the context of discreteness.