本文透過檢視香港電影《天涯海角》（1996）與《兩個只能活一個》（1997），重返香港1997年主權移交前後，探討屬於香港與九七那條時間軸線；觀察其「九七」話語的創傷敘述與情感政治，以及其音像符號所呈顯的個人欲望與集體力量，如何開啟社會空間所表述的「港式共同體」。兩部文本皆產出於香港獨特的創作模式，並以跨國明星金城武為主角。無論其文本被視為「隱喻九七」，或充滿了「九七諷喻」，藉由再次探詢那些被擇選的情感線索，以便觀察那樣的身體與身分、聲音與影像之間的「幽靈化」狀態，是否也以其可視性與可聽性，展演出後續的情感動能？而金城武的文本化，在這樣借題九七的電影中，又能表述出什麼樣的「香港性」？

This paper examines the Hong Kong films Lost and Found (1996) and The Odd One Dies (1997) to revisit the timeline surrounding Hong Kong’s 1997 sovereignty transfer. It explores the “1997” discourse through trauma narratives and emotional politics, analyzing how the audiovisual symbols within these films articulate individual desires and collective forces that shape a socially expressed “Hong Kong-style community.” Both films were produced within Hong Kong’s unique cinematic framework, with Kaneshiro Takeshi as the leading actor. Whether these texts are regarded as metaphors for 1997 or infused with “satirical allegories of 1997,” this study re-examines the emotional cues they present to investigate how the interplay of body and identity, sound and image, manifests a “spectral” state. Does this spectrality, through its visibility and audibility, reveal subsequent emotional dynamics? Additionally, how does Kaneshiro Takeshi’s textualization in these films contribute to articulating a sense of “HongKongness” within this cinematic engagement with 1997?