從19世紀開始，工業、科技迅速發展改變都市空間景觀及社會文化，波特萊爾(Charles Baudelaire) 即清楚指出，現代性具有稍縱即逝(ephemeral)、難以捕捉(fugitive)的特性，但也同時展現其永恆 (eternal)、固定不變的另一面。其中尤以漫遊者(flaneur)作為現代性的代表，這些有錢、有閒的中產階級男性開始在巴黎拱廊中享受各式商品展示，在街上則注視著女性身體滿足其視覺感官上之慾望。
     正如論文題目〈交錯空間：當代電影景觀中的女性漫遊者〉對漫遊者此概念提出質疑：隨著時代改變， 特別是電影產業的盛行將重新定義漫遊者與都市空間、時間甚至是行為主體間的關係。也就是說，不同的電影手法像是剪接、聲音等讓觀眾看見環境中的不可見；而在其中所產生的交錯空間更提供觀眾參與漫遊行為的可能，同時也解消人類身體(physical body)之於漫遊行為(flanerie)的必要性。 
   那麼漫遊者不再只是走在都市空間中的觀察主體，而是一種伴隨著電影空間而生的超越性別、空間侷限的一種理解周遭流動、變化的概念、可能性。 透過科技，我們瞭解真實中的不可見，尤以電影敘事空間和影像的結合、斷裂都將重塑我們的和空間的關係，更影響我們的世界觀。
    在第一章«愛情不用翻譯»中，我們看見來自美國的女性角色試圖擺脫傳統對女性漫遊者(flaneuse)身份限制，並在異國都市中尋找、建立自我身份認同。卻同時藉由向陌生男性尋求慰藉來逃避婚姻束縛、對自我身份的不確定性， 實質上則落入男性霸權對空間、女性身份的掌控之中。在之中，交錯空間正顯示漫遊行為之於 性別、空間的矛盾性。
     第二章«雲端情人» 中，操作系統(OS)提供性別選項，並以女性(Her)做為主軸開展人工智慧如何參與人類社會行為如社交、親密關係等，而其無形體(disembodied)存在正暗示女性能不受形體拘束並透過科技裝置自由移動在電影交錯空間中。人工智慧(artificial intelligence)不斷搜集影像、聲音並擴展其資料庫(database)，更從中建構出其自主性，超越其預設系統規範、擺脫人類控制。
     最後 «肌膚之侵 »中外星生物擁有、支配女性軀殼，並藉由在街上漫遊、觀察人類行為逐漸化身為地球上之女性漫遊者身份。而電影空間外的配樂不時提醒著觀眾眼前所出現的空間、人物的不真實性。 而最後當其皮囊之下(under the skin)的身體展示在電影螢幕上時，更加衝擊觀眾內心期待的落差。

Baudelaire describes modernity to be ephemeral, fugitive and eternal in The Painter of Modern Life and this reveals modernity’s paradoxical nature. The 19th century saw the industrial and technology advancements that transformed the city scenery and social activity at the same time. The leisure wanderings in the street no longer belonged to the privileged bourgeoisie males when people from different class and gender formed the crowd in public urban space. 
	 However, contemporary cinema reshapes our perceptions about flaneurs through various filmic techniques and the combinations of visual and audio implicitly reveal the “optical unconsciousness” within our environments. Furthermore, flaneurs or flaneuses now commence virtual wandering through inter-space in cinema that questions the necessity of bodily existence when it comes to the act of “flanerie”,
	In chapter one, the film Lost in Translation shows an American woman, Charlotte, attempts to establish female identity as flaneuse in the exotic city, Tokyo. Though she seems to enjoy free wanderings with the help of public transportations, she unconsciously clutches to male patriarchal power to escape marriage burdens and uncertainty about self-identity. Inter-space discloses the traditional stereotypes and restrictions in terms of female free wanderings in the public urban space.  
	In chapter two, the film Her reveals the technological advancements actually challenge the mortality of human existence in contrast to the unlimited and ever-expanding Operating System. Besides, the OS is designated as a female one and enters into the hierarchical social structure through disembodied existence. However, she intends to construct subjective consciousness as flaneuse from interactions with human society through technological devices. 
	In chapter three, Under the Skin, the alien being operates the female body to fulfill her unidentified intention on earth i.e., go hunting for male preys. The discordant outside diegetic sounds reflect the alien being’s inner turmoil state of mind. In short, the alien being becomes flaneuse on earth by exploring what can human body do for her apart from bodily functions.

Table of Contents
Introduction: Flanerie: From Benjamin’s Conception to Cinematic Space--------1
Chapter One: A Flaneuse Wandering in the Exotic Orient---------------------------14
Chapter Two: Disembodied Cyber-flaneuse in Inter-space--------------------------28
Chapter Three: Flaneuse from Outer Space: Alien-hunter on Earth--------------39
Conclusion: Imagining Virtual Flanerie in Cinema------------------------------------50
Works Cited------------------------------------------------------------------------------------59

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