本文分析电影与视觉研究中新发展的跨地性与跨媒体性。朱利安的九屏幕投视电影《万重浪》（2010年）代表一种基于跨地比兴、跨媒体互动和移动观影的动态美学。通过启用不同的模式（如田园式对比幻想式、怀旧式对比后怀旧式）重塑妈祖传说和上海记忆，多种影像与声音不停流动，产生跨越不同媒体和类型（电影摄影、影像装置、救援录像、书法、诗歌、绘画、明星表演等）的多层次、多时空的意义断想/联想。跨界视觉艺术无疑增强了作者的魅力，但遗留的关键问题是西方观众对东方意象的接受能否超越根深蒂固的东方主义的束缚。

This article examines translocality and crossmediality as new developments in cinema and visual studies. Isaac Julien's 9-screen video installation Ten Thousand Waves (2010) represents a migratory aesthetics based on translocal evocation, crossmedial interaction, and mobile spectatorship. As Julien reconstructs the legend of Mazu and memories of Shanghai in radically different modes (e. g., the idyllic versus the phantasmagoric, the nostalgic versus the post-nostalgic), their screen images and sounds enter a constant circulation and produce intriguing multi-directional, multi-spatial, and multi-temporal dissonance/resonances across different media and genres — cinema, art photography, video installation, police rescue footage, calligraphy, poetry, painting, and star performance. Cross-border visual arts no doubt have enhanced the auteur mystique, but a key question remains as to whether Western audience, in its reception of Eastern imageries, could break through the confines of entrenched Orientalism.