李安的處女作《推手》（1991）藉由氣功推手的意象（一種在視覺上時而呈現流動、時而卻展現靜候的形態），生動地烘托了一位移居美國的中國氣功師傅朱智平的形象，及其身體造型（手、觸摸、疤痕及內傷等等）。尤其特別的是，這部被導演自己視為「既不藝術又不商業」的作品，其影像內挪移靜止的手，在大部分的敘境中既成為所述戲劇性事件唯一的視覺主體，又是引發視覺觸摸的「形體」。本文擬以手的觸摸開展一種「影像的影像」分析。質言之，除了可讓凝聚與展現導演作者的創作思維--一個流動影像的所在--得以在影像中展露自我的呈現、敘述與展示，亦可進一步形構出手與觸摸所展現的造型力量，及其介於靜與動態化之間的影音思維。

Ang Lee's debut cinema, Pushing Hands (1991), through the imagery of Tai Chi Qigong pushing hands (a visual pattern which sometimes presented in the status of moving and sometimes static), vividly elicits the figure of Zhu Zhi-ping, a Chinese Qigong master who immigrated to the United States, and the figure of his body (by hands, touches, scars, internal injuries and so on). The most notable characteristic of this cinema, which is a "neither academic nor commercial" work regarded by the director, is the movement and stillness of the hands represented in the image. It becomes both the visual subject in most of the narrative expressions and the "body" which draws forth the visual touches. This study aims to analyze "the images of the film" on the touches of the hands. That is to say, not only let the creative thoughts (where those floating images existed, and which condence and express the director's mind) disclose their self-representation, narration and demonstration, the analysis will, furthermore, plasticize the hand and its power of plasticity revealed in the touches and its audio-visual thoughts in between the status of movement and stillness.