分析王家衛的《花樣年華》從第275個鏡頭到第298個鏡頭：上下樓梯的女人、走廊與迷宮、電影與它的皺褶

Analyzing Shot 275 to Shot 298 in Wong Kar-wai's ＂In the Mood for Love＂: The Ascending and Descending Woman, Corridor and Labyrinth, and Cinema and Its Folds

本論文分析王家衛《花樣年華》中的一小片段，從第275個鏡頭到第298個鏡頭，總共24個鏡頭的電影文本分析。本論文從德勒茲的《皺褶》和柏格森的《思想與動力》的理論做為出發，來分析這一小段電影中快步的上下樓梯與在走廊中的疾步，因此，在樓梯的往上運動與往下運動，成了哲學思考與電影分析的挑戰。樓梯為一個具體的皺褶形象，王家衛把樓梯、走廊、運動、不同的電影技法與錯誤的電影剪接，將這些不同的形式與不同的思考，藉著錯誤的剪接來結合在一起，形塑他特有的電影皺褶。因此，這一小段影片，是王家衛在《花樣年華》中最大的意義陷阱，也挑戰著電影研究的實踐。

This paper aims to analyze a sequence, from shot 275 to shot 298, in Wong Kar-wai's ＂In the Mood for Love＂. Starting from Deleuze's ＂the Fold＂ and Bergson's ＂Thought and Movement,＂ this paper tries to analyze scenes of rapid ascending and descending of stairs, and of trotting-through-corridors in this sequence, in which the movements up and down stairs challenge philosophical and cinematic analysis. In the sequence, Wong Kar-wai transforms the stairs, which can be seen as an embodiment of the fold, and combines them with the corridor, movement, and a variety of cinematic techniques through the use of a 'continuity error' editing aesthetic to construct his very own cinematic fold. Therefore, this sequence becomes a trap for meaning, and a challenge to the practices associated with film studies.