在21世紀，台北這個後現代全球化都市的「文化混雜性」在電影中相較以往以更加多元的新面貌再現，特別是2008年《海角七號》之後，台灣出現重要的類在「庶民美學」風格架構下具有人文關懷與社會連結的通俗電影，電影中台北的「全球混雜性」是為一種如詹明信所說的後現代的「拼貼」與「懷舊」，本文以《五星級魚干女》（2016）為例，探討「後海角時代」電影如何透過全球化跨國流動與多元異質文化拼貼，呈現台北日本後殖民/日本流行文化/中國傳統/台灣本土/西方現代化等混雜的文化特質，表達台北的在地精神與文化混雜特點，本文同時批判性的指出《五星級魚干女》在城市行銷與消費文化主導下，存在歷史扁平化與空洞化。流於喜劇形式卻未具有對台北文化特性的深層思考或更深刻社會批判的問題。
In the 21^(st) century, especially after the film＜Cape No.7＞ (2008), a new representation of Cultural Hybridization in Taipei City Films, which Fredric Jameson called ＂pastiche＂ and ＂nostalgia film＂. This article takes the film＜Welcome to the Happy Days＞(2016) as an example to analyze the new representation of cultural hybridization in contemporary Taiwanese films ,to discuss how the film mix the Japanese post-colonial / Japanese pop culture / Chinese tradition / Taiwanese native / Western modernization into Taipei and the city landscape Beitou. This article also critically discussed how the history and cultural hybridization are presented in the sight of city marking and consumer culture.