《潛行者》（Stalker, 1979）是塔可夫斯基（Andrei Tarkovsky, 1932-1986）在蘇聯拍攝的最後一部作品，情節講的是一趟帶有科幻意味的冒險旅程，實際內容是探討物質文明過度發展所導致的精神失落與心靈危機。在此前提下如何把握影像中的時間關係和空間關係，使其融合在一個能為觀眾認知的具體的整體中，好將電影主旨清晰呈現，是導演最大的挑戰。本文試圖藉由巴赫金（Mikhail Bakhtin, 1895-1975）的時空體理論（chronotope）來分析《潛行者》裡的冒險旅程：它虛虛實實，似真又假，充滿不可思議的艱辛，反映的正是道德真空下心靈危機的圖像。藉由這一趟前往房間（Room）的旅程，塔可夫斯基再次展示了真實和想像邊界的荒謬性，完成了對時間連貫性的訴求，同時開啟了他以電影藝術對抗精神失落之路的起點。

Stalker (1979), the last feature film Andrei Tarkovsky completed in the Soviet Union, seemingly depicts a three-man expedition into a surreal Zone, but is actually more concerned about the over-development of material culture and the consequent spiritual loss and mental crisis. How to arrange the time-andspace relationship into a comprehensible narrative in the film that can illustrate this theme becomes the greatest challenge for the director. The end result is a half-true, half-fictional journey that is incredibly tough, mirroring the mental crisis caused by the vacuous state of the characters’ minds. The present study utilizes Mikhail Bakhtin’s concept of the chronotope to analyze this adventurous journey and will show that, through the characters’ trip to the Room, Tarkorvsky demonstrates the absurdity of the boundary between reality and imagination, achieved coherence in time if not space, and inaugurates his own journey of battling against the spiritual loss of men with the art of film.