本研究由當代電影的視覺呈現出發，以盧貝松的《露西》和朱浩偉的《出神入化2》兩部影視作品探討東方與西方世界之間的文化翻譯，針對東亞城市、語言、以及凝視三個面向分析其中的轉化與再現。首先藉由拉普朗虛的謎樣信息概念，研究發現劇中主角先是因為外在環境陌生而與其產生負面連結，而後成功解讀周遭東方符碼而突破困境；片中東方與西方城市原始與文明的對比於此正巧與角色們的心境轉換互相呼應。論文接著由文字切入，分析二片數次是否通曉中文／英文的對話、語言選用以及著重文字的場景布置；借助拉普朗虛他者重心的概念，此處找出在多語環境下偏好英語及混用多語二種對比的態度。最後著眼於角色視角安排，本文利用凝視探討東西世界間拉鋸的權力關係，發現二部電影皆由互相分化的眼光逐漸聚合，終而形成單一卻同時多元並立的視角。經過分析，研究歸納出二作雖有分化東方城市風貌、語言使用、角色塑造之事，但實已納入不同文化色彩，創造出相較過往更加複雜而連結世界的觀點。

In view of translation between Eastern and Western cultures, this thesis focuses on the visuality of two contemporary films, Luc Bessons’s Lucy and John M. Chu’s Now You See me 2. The main body is divided into three sections: First, with help of Laplanche’s theory of enigmatic signifiers, the thesis explores how the unfamiliar Oriental surroundings may cause unease to the characters and how decoding the Oriental signifiers helps ease the discomfort. During the process, the primitizing of Eastern settings and the civilized portrayal of the Western world corresponds to the characters’ changing experiences. Secondly, the thesis discusses how languages are presented and preferred by analyzing text-centered scenes as well as languages characters choose (not) to use. Using Laplanche’s view of the Other as reference, two opposing attitudes are discovered: both set in multilingual backgrounds, one tends to cling to the self and the familiar while the other explores different combinations and possibilities. Lastly, turning to examine the gaze between characters and the power dynamics between two cultures and worlds, the thesis discovers that both films begin with a relatively singular viewpoint but eventually develop a globalized and inclusive perspective. In sum, while there are traces of alienating Eastern and Western cultures found in the two films, ultimately it is a diversified depiction of the world that is established.

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