《花山牆》與《回程列車》兩部作品皆以靜態影像為主、動態影像為輔來建構影像敘事空間，並觸及自台灣新電影以來，電影研究中經常論辯的本土與身份建構之命題。然而這兩部風格、屬性不同（錄像、短片）的作品要如何放在台灣電影研究的框架下？他們又展現何種不同的影像美學策略，提出代表年輕創作者的身份建構與消逝方法？本文試圖從電影認識論面向，透過歷史與當代間的思辨，先從題材與媒介屬性面探討兩部影片置入台灣電影研究脈絡之可能。其次，透過回顧卡努多、柏格森與安海姆對影像運動的思索，解析創作者如何將觀眾觀視作為影像敘事空間要項，並重新詮釋靜、動態影像以啟動時間概念之多重意涵。

“Hua-Shan-Qiang” and “Return” are works which construct visual narrative spaces, in the main, via static images and employ moving images as secondary elements. Both are concerned with issues of local identity and the construction of identity, which have been debated constantly in the domain of film studies since the initiation of the New Taiwanese Cinema movement. However, as they differ in style and characteristics (one is a video installation, the other a short film), how might these two films contribute to this debate? What is the difference between the visual aesthetic strategies applied by these two directors? And how did they, as young creators, propose to construct an identity, or to represent its disappearance, in ways that speak for their generation? Starting from the epistemology of cinema, this study proposes a shifting examination, alternating between historical and contemporary perspectives, in order to situate these works in the context of Taiwan film studies according to topic and media type. Secondly, by reviewing the reflections of Ricciotto Canudo, Henri Bergson, and Rudolf Arnheim on the concept of image-movement, we will analyze how these two creators consider the viewing of the spectator as an essential element of the visual narrative space and redefine the use of static images and moving images, generating a notion of time with multiple implications.