本文以蔡明亮在2012年發展出的「慢走長征」短片系列為研究對象，思考如何定義或詮釋這些只記錄李康生走路行為的影像？是什麼原因促使他朝向此方向發展？此作者的提問：「電影為什麼不能只是走路？」所質疑的是什麼？這一連串問題形成本文的研究動機。文中比對了文學領域的發展現象，來檢視蔡明亮在本系列所展開的影像還原運動。蔡明亮如何藉由創作讓影像重新獲得獨立為本文主要的探索內容，經其創作習性的觀察發現此作者尋到一張清晰之臉的關鍵，與長久合作的演員李康生密切相關，這位演員的澀、鈍特質讓象徵界的異化作用失效了。「不能割捨李康生」即為蔡明亮的聖狀反應，此理解自我之路徑不是將自我意識視為思考之起點，而是從凝視他者之臉重新指認出支撐起「我」的重要基石。

In this paper, the “Strolling and Marching” short film series developed by Tsai Ming-Liang in 2012 was adopted as the research subject. How to define or interpret the images that merely record Li Kang-Shang’s walking behavior? What cause drove him to move towards such a direction of development? What is queried behind the author’s question: “Why can’t a movie just be about walking?” This series of questions contributed to the research motivation in this paper. In the text, the development phenomena in the field of literature were compared to examine the image restoration movement launched by Tsai Ming-Liang in this series. How Tsai Ming-Liang allowed image to regain independence through creation was the main content of exploration in this paper. Based on observations of his creative habit, it was found that the key to the author’s finding of a clear face was closely related to Li Kang-Sheng, an actor whom he had long worked with. The actor’s inexperienced and obtuse qualities invalidate the dissimilation of the symbolic. “Unable to part with Li Kang-Sheng” became Tsai Ming-Liang’s Sinthome reaction. This path leading to a self-understanding is not to regard self-consciousness as the starting point of contemplation; instead, it is from gazing at the face of the other that reidentifies the important cornerstone that supports “I”.