蔡明亮的電影以影像的多重內框及平行並置構成其最獨特的風格。本文首先分析其影像內框所呈現的條紋空間，電影在此成為極特殊的框線審美經驗，這是關於框－影像的「感性分享」。影像內框的平行接剪則構成敘述的多重系列，每個鏡頭幾乎都以複式的構成倍增影像的可能性與擴延影像既有的維度。人物表面上從事著最簡單素樸的生命行為，但此行為卻奠基於繁複的影像形式之中。而性愛、飲食與哭泣則總是展現蔡明亮電影中最高張的身體能量與流動。 生命的荒蕪與影像的茂盛在蔡明亮的作品中交織纏繞、相互增強，最後共同鎔鑄台灣90年代之後最原創的電影作品。

By the internal frames of the image and their parallelism, the work of Tsai Ming-Liang gave an extraordinary style. This paper analyzes first the striated space of the image, made by the intra-frames, the film becomes an aesthetic experience of the framming. This is a “partage du sensible” of the picture-frame. The parallel arrangement of these images consists of the multiple series of the story. Each plan can double image and expanding its dimensions. Apparently, the characters live to do nothing, but "nothing" is based on the most complex form of the image. The desert of life and exuberance of the image are intertwined and one intensifying the other, which ultimately forge the most original work of Taiwanese cinema.