Pai Hsien-yung’s novels often compare different space-time situations of the past and present. However, there are less direct writings on critical time background of Nationalist-Communist civil wars that lead the protagonists’ diaspora experiences. Xie Jin’s The Last Aristocrats (adapted from “A Chinese Girl in New York”), Xie Yan’s My Rice Noodle Shop, and Tsao Jui-Yuan’s Love’s Lone Flower coincidentally strengthen the background of war or fleeing experienced in 1949 to lay out the key influence of the protagonists’ encounters and bring up the lingering psychological trauma. Through images, these movies give concrete expression to the past geographical space and make the beautifications. By these, the movies highlight the protagonists’ diaspora experiences and helpless wandering situations in the troubled times. The geographical spaces, generations, and viewpoints of these three directors also created different style orientations for the movies. The Last Aristocrats in the late 1980s marked the breakthrough of the Chinese film themes and narrative modes; in the late 1990s, My Rice Noodle Shop made a new interpretation of the discrete narratives of the past in a mocking style to see the pathos; new century Love’s Lone Flower symbolized the peak of Shanghai nostalgia in Taiwan. Through the re-interpretation of the different creators, Pai Hsien-yung’s novels also left new annotations and witnesses for the great times.