本文探討王家衛的《花樣年華》中的對倒結構、重複性與排演。電影中的對倒結構，它從細微的服飾上、各式的電影場景以及在劇惰的架構中展現。《花樣年華》中特殊的重複性及影片中出現三次的排演，這些為王家衛電影中主要的風格，也是本文的所要探討問題架構。王家衛的深知重複性的結構與具負面意義的排演的不確定性，但王家衛如同電影創作的美學家，把重複性與排演深化成美學的層次，進而把它們轉化成開創性的當代電影語言。 本文中把重複現象與排演試著與當代歐陸思潮相連結，並以援用德勒茲的《差異與重複》為主，作為論述與電影分析的主軸，借此來反思王家衛的《花樣年華》。

This essay aims to analyze the relations among its structure of tête-bêche, distinctive repetitions and three varied rehearsal shown in Wong Kar-wai's film In the Moodfor Love. As a creative artist, Wong Kar- Wai shows great mastery of repetition structure, turning the uncertainty of rehearsal into positive and groundbreaking aesthetic level of modern film language. This essay tries to relate repetition and rehearsal in Wong's In the Mood for Love with contemporary continental philosophy. By adapting ideas from Gilles Deleuze's 'Difference et répétition' as the main discourse and analytical approach, this essay tries to examine the phenomena of repetition structure and rehearsal, and furthermore, to provide novel perspectives on Wong Kar-wai's In the Moodfor Love.