本論文討論王家衛《我穿越9000公里為了把您點燃》中的兩個電影現象。首先分析王家衛電影中對高達電影的引用。引用他人的文本，如何嫁接成為我的書寫？電影如何解決來自他方異質性的聲音？再者本文的另一重點，試圖從王家衛的這部短片中破碎的剪接，整理出其中特別的美學。這部電影裡不確定的時空與敘述，是否由於過多的省略剪接所造成？還是由於鏡頭與鏡頭的接續中有著太 多的中斷？或是由於短片中刻意安排的斷裂性？這種斷裂性在電影中的結構與形式無所不在，例如在電影院中觀看電影與拍攝電影的二元對立，在影像的再現與影像的材質之間，同樣有著斷裂性。暴力斷裂性的剪輯是否讓這部短片更具開放性的可能？從省略、中斷與斷裂，在這三種不同的剪接形式中，王家衛是否開創出一種新的刪扣的剪接形式？在刪扣的空白當中，電影可否思考自身？還是它只是 一個暫時逃困的詭計？ 本論文試著從電影理論與歐陸當代思潮出發，藉此來做為電影文本分析的主軸， 用來分析《我穿越9000公里為了把您點燃》中的引用、省略、中斷、斷裂與刪扣的電影美學研究路徑。

This paper aims to discuss the following two phenomena in Wong Kar-wai’s I Travelled 9000 km To Give It To You: first, by examining the quotation of Godard’s film in I Travelled 9000 km To Give It To You, this paper analyzes how the text of others grafts into the text of “my,” and how Cinema confronts the heterogeneous voices from other places? Secondly, this paper seeks to establish the aesthetic from the film’s fragmentary editing, temporal and narrative uncertainty, and excessive ellipses. Are they the results of interruptions between shots? Or they are deliberately arranged raptures. Does Wong Kar-wai, form the uses of ellipsis, interruption, and rapture, open up a new possible form of editing – the syncope editing? By adopting film theories and contemporary thoughts as a footstone for film textual analysis, the main purpose of this paper is to discover a new path for aesthetics of Cinema through the close examination of the quotation, ellipsis, interruption, rapture, and syncope in Wong Kar-wai’s I Travelled 9000 km To Give It To You.