此篇文章探討侯孝賢1996年的《南國再見，南國》，意圖論述此片是侯孝賢在電影形式上又一次的突破。《南國再見，南國》藉由形式上新的嘗試呈現了一個新舊交際、隱隱悸動的世紀末臺灣。《南國再見，南國》放鬆了侯孝賢過去景深的設計，做了淺平構圖的調度；進一步地，也實驗以顏色及音樂來界定視點，透過視點鏡頭來接近並進入角色，呈現一種立即、當下感，有別於侯孝賢之前懷舊及審思歷史的深沈感。論文藉由分析《南國再見，南國》裡的交通、角色、風格、家產，來導引出侯孝賢有別於過往的電影嘗試；同時也點示此片如何開啟侯孝賢下一階段的形式試驗。

This article studies Hou Hsiao-Hsien's 1996 Goodbye South Goodbye and argues that it presents a range of stylistic experimentation which launches Hou's aesthetic exploration through the next stage of his work. Goodbye South Goodbye shows an end-of-the-century Taiwan poised at a moment of transition in which the center of focus shifts from one generation to another. With Goodbye, Hou eases his former preferred complex staging in depth and moves toward complex staging on reflective surfaces. Moreover, Goodbye experiments with POV shots by defining them with color and music, which has the effect of bringing the spectator closer to the characters and evokes a sense of immediacy unlike the sense of nostalgia and historical weightiness in Hou's earlier work. These filmic techniques and effects are investigated through analyses of the modes of transportation, the characters, styles, and notions of home appearing in Goodbye South Goodbye. This paper concludes with a concise survey of the new stylistic presentations undertaken by the Hou films which followed Goodbye South Goodbye.