本文通過對胡金銓四部武俠動作片中「客棧」設置的解構，分析其做為影片敘事、空間設置和剪輯平臺的特性，意圖揭示胡氏影片中封閉空間設置和「意境」產生之間的關係。 首先，文章分析了傳統中國客棧的功能與結構和它為胡氏影片敘事和技巧所能提供的平臺機制。同時嘗試指出京劇美學對胡金銓影片敘事、導演技巧和場景設計的決定性影響。 其次，本文探討了胡氏影片武打場面中緊張和爆發性氣氛的刻畫原理，對空間設計和動作節奏感編排的倚重；並揭示了胡金銓對電影化表現技巧的深入獨特理解：他為人物複雜的動作技巧展現留下了充足的空間，以此取代傳統動作影片裡對正面肢體衝突的展現。通過精湛的場面調度來凸顯現場情境氣氛。 第三，胡金銓不僅使用長鏡推移和構建剪輯的組合來展現複雜的動作場面，它同時還採取詩意剪輯方法——只截取連貫動作中的短暫片段拼接讓觀眾自行在意識裡完成對影片中人物動作的想像。在這個融匯類別不同的電影表現手段過程中，他完成了一個電影「非意識形態化」道路，使電影技巧與被西方電影理論家諸如愛森斯坦和巴贊所定義的概念區分開來，得以創造一種中國化的電影「意境」。 最後，胡氏的美學觀念和導演技巧對後世尤其是70年代依賴香港武打動作電影風格的形成產生了巨大的影響。他的電影製作方法是中國動作電影留下的最寶貴文化遺產之一。

This article reveals the correlation between the artistic conception in action scenes and the setting of closed spaces in King Hu's Kung-fu/Swordplay films. It examines the "inns" as the main stages of narrative and actions in four of his movies, in the consideration of three aspects: narrative, space and editing. Firstly, it analyzes the structures and the functions of traditional Chinese inns and the narrative devices that they contribute to the construction of storylines and the representation of martial arts crafts. It relates also the dominant influences of the aesthetics of Beijing Opera on King Hu´s narrative craft, directing skills and his setting design. Secondarily, it deals with the intense and escalating atmosphere in the multi-phases of actions scenes, which relies on the design of multileveled space inside and outside of the inns and the master control of the beats of actions. It also shows King Hu's unique understanding of kinesthetic artistry:instead of showca- sing physical combat, he lets the actors demonstrate the sophisticated craft of acrobatics and presents, in a subtle way, the antagonistic ambiance alongside outstanding staging skills. Thirdly, King Hu uses not only the combination of sequence shots and construc- tive editing to incarnate the complex action scenes, but also elliptical cutting to eliminate some phases of actions in order to manifest the miraculous movements of the protagonists. Thus, he explores the "non-ideological" use of cinematic techniques by separating them from the ideological symbols defined by the theorists such as Eiseinstein and Bazin, and thus creates an artistic conception with the typical Chinese style. Finally, the article reveals the profound influences of his aesthetic opinions and directing skills on the stylish Hong Kong action movies of the 80s and beyond. It considers his way of making films as one of the most characteristic treasures in the heritage of Chinese action cinema.