本文擬由觸感視覺的角度出發探討王家衛電影《花樣年華》特殊 的表面美學和歷史觀，試圖開發出一種有別於後現代主義拼貼的表面 閱讀。論文的第一部份「捕捉『表面形式』：電影影像、商品拜物、 以及去體感化」試圖處理影像在商品化過程中成為一種「去體感化形 式」（disembodied form）的弔詭，而分析的重點在於翻轉「去體感化」 與「形式」之間必然相連的論理基礎。第二部份「觸視《花樣年華》： 介面觸感視覺與表面歷史」則試圖以電影表面為介面，進一步思索在 觸感視覺帶動下的《花樣年華》是如何中介了傳統敘事所無法企及的 氣韻生動及歷史感。

This article analyzes Hong Kong director Wong Kar-wai’s film In the Mood for Love from the perspective of haptic visuality as a way to respond to critical readings of the film as a paradigm of postmodern pastiche. The first part of the article seeks to problematize the concept of filmic image as “disembodied form” by theorizing the possibility of filmic image as “embodied form.” The second part of the article discusses how the film successfully captures the sensibility of embodiment by means of an aesthetics of surface that escapes a notion of history that necessarily grounds itself on historical narratives.