當代法國思想家賈克．洪希耶以電影的「矛盾寓言」導引出「藝術的再現體制」與「藝術的美學體制」之間共構與間隔的雙重關係。作為延續「藝術思想體制」的電影，其位階的曖昧性在於接續與發展其他藝術範型所共有的古典型態與內容的同時，將差異於再現性與敘事性詩學的純粹感性影像，或更準確而言，將「間隔性影像」體現出來。如此一來，洪希耶將指涉殊異表達性與創置理念模式的電影美學定義，和浪漫主義以降實踐美學變革的藝術範型聯繫在一起。對哲學家而言，這除了是「藝術認同體制」的共同指涉外，更是表徵運動音像的獨特性。本文以為在哲學家的電影美學論述中，「間隔性影像」不僅是敘事詩學與純粹感性共構的微型影像事件，也是錯位於導演作者創作理念的人形物質，更是透過影像潛在變動性對非人性的歷史詩學進行「後設感性」的「寓言」見證。換言之，作為「電影美學力量」的「間隔性影像」即在內在交織、潛在差異與越界移位的電影歷史經驗和「藝術認同體制」中，一方面展現了啟發當代電影分析與理論研究的實質作用；另一方面則是表徵了一種形式共構與重新劃分的挪用能量及勾畫出殊異世界輪廓的方略，並進一步形構思想感性模式的藝術理念。

By using “thwarted fable” in cinema, contemporary French thinker Jacques Rancière proposes a double play of coexisting and intermitting between “representative regime of art” and “aesthetic regime of art.” As a cinema that sustains “the regime of the thought of arts”, the ambiguousness of its status quo lies in the moment when continuing and developing the collective classic model and content shared by other artistic prototypes, presenting the differentiation in pure sensible images of representative and narrative poetic, or the rigorous “intermittent images”. Thus, Rancière connects the definition of cinematic aestheticism that refers to the distinctive expressions and model of creation philosophy with the artistic prototypes that practiced the aesthetic revolution since the time of Romanticism. For philosophers, this is a collective reference to “regime of identification of art,” and, more than that, it also symbolizes the uniqueness of motion sound and image. The study considers that in philosopher’s discourse on film aesthetics, “intermittent images” are not only the miniature of imagery event co-constructed by narrative poetic and pure sensible, but also the human shaped substance misplaced in cineaste’s creation philosophy, and the “fable” witness of performing a “post-sensible” examination toward nonhuman historical poetic through the latent variation of images. In other words, in the intertexture, latent diversity and dislocation as the experiments in film history and in the “regime of identification of art,” “intermittent images” as “the power of film aesthetics” present the essential action of contemporary film analysis and theoretical study. Nevertheless, it characterizes a shifting capacity of formative co-construction and reconfiguration and outlines a general plan for the sketch of distinctive world; and further, it shapes the artistic philosophy of idealistic sensible model as well.