台灣新電影的主要人物之一楊德昌因其巧妙的方式對 20 世紀末台灣的發展提供了批判性的視角而受到讚譽。大多數研究都集中在他的生活經歷、他在電影中所採用的技巧和美學上，但很少提到他的視覺素養，以及他作為導演的傾向，即在他的場景中插入大量的視覺和文學參考。他對製作漫畫和繪製故事板的終生興趣和專業知識——他成為一名成熟的電影製作人的關鍵——無疑是這方面的基礎。本論文將首先分析繪畫、照片、海報和藝術作品複製品的存在如何與承載它們的電影建立互文線索。它們不僅僅是楊氏電影場景中的道具，並且參與了他的場面調度的意義。
本論文將特別關注楊德昌最複雜、最令人費解的作品《恐怖分子》，以證明互文性對此電影的結構至關重要。互文線索已經在開場最初的幾個鏡頭中編織，有一首歌曲「《請假裝 你會捨不得我》，邁克尼科爾斯的電影《靈慾春宵》的海報上的一對夫婦的臉，以及在年輕伴侶的臥室裡可以看到的幾本書的封面。透過它們的內容與電影中的不同場景對話，我們將看到這些物件是激發楊德昌的創作靈感的重要參考資料的一部分。因此，作者的意圖可以通過選擇特定的參考圖片、音樂片段和物件——準確地說是書籍——以及他展示它們的方式來識別。
我們最終會看到，楊德昌的主要關注點之一是找到將文本轉換為電影圖像的最佳方法。他作為漫畫家的長期實踐教會了他如何結合文本和圖像以精心製作「圖像文本」——根據W.J.T.米切爾的定義。這可以解釋為什麼互連和互文性原則不僅是一種創作策略，而且對於這位好奇的自學成才的電影製作人來說也是一種生活方式。

Edward Yang, one of the major figures of Taiwan New Cinema, has been praised for his subtle way to offer a critical perspective on the transformation of his country at the end of the 20th century. While most studies have focused on his life experiences, the techniques and aesthetics he employed in his films, few have mentioned his visual literacy, and his propensity, as an auteur, to insert a multitude of visual and literary references in his mise-en-scène. His lifelong interest and expertise in making comics and drawing storyboards—key to his becoming a full-fledged filmmaker—was undoubtedly fundamental in this regard. This thesis will first analyze how the presence of paintings, photographs, posters and reproductions of works of art are meant to establish intertextual threads with the films that are hosting them. They are not mere props in the settings of Yang’s film, but participate in the meaning of his mise-en-scène.
A special focus on Terrorizers, Yang’s most complex and puzzling work, will demonstrate that intertextuality is essential to the fabric of the film. Intertextual threads are woven already in the first shots, with a song Please Pretend..., the faces of a couple on a poster of Mike Nichols’s film Who’s Afraid of Virginia Woolf? and the covers of several books that can be seen in the bedroom of the young couple. We will see that these objects are part of the important references that inspired Yang’s creation and that their content dialogue with different scenes in the film. The auteur’s intention can therefore be identified through the choice of specific referential pictures, pieces of music, and objects—books to be precise— and the way he displays them.
We will see finally that one of Yang’s major concerns was to find the best way to convert texts into filmic images. His long practice as a cartoonist taught him how to combine texts and images and elaborate imagetexts—in W.J.T. Mitchell’s words. This can explain why the principle of interconnection and intertextuality was for this curious self-educated filmmaker not only a creative strategy, but also a way of living.

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Filmography
Yang, Edward, Expectations (desires) (Second episode in In Our Time), Taipei: Central Motion Pictures Company (CMPC), 1982
Yang, Edward, That Day, on the Beach (Hai tan de yi tian), Taipei: CMCP, 1983
Yang, Edward, Taipei Story (Qing mei zhu ma), Taipei: Evergreen Film Production Company, 1985
Yang, Edward, Terrorizers (Kong bu fen zi), Taipei: CMPC, 1986
Yang, Edward, A Brighter Summer Day (Gu ling jie shao nian sha ren shi jian), Taipei: Yang & His Gang Filmmakers, 1991
Yang, Edward, A Confucian Confusion (Du li shi dai), Taipei: CMPC, 1994
Yang, Edward, Mahjong (カップル-- Couple), Taipei: Atom Films, 1986
Yang, Edward, Yiyi (A One and a Two), Taipei: Atom Films, 2000