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中文摘要：
诗意电影以诗的逻辑，打破预设的规则，创造出新的形式，去沟通过去、现在和未来，让观众在最大程度上体验到生命的深度和广度。诗意电影不是给出“所是”，而是对“可能”的创造。这种创造，是为了发现一种更强烈和紧密的方式，以连接人与世界、有限与无限、自我与他者。本文从三个方面来论述《长江图》和《路边野餐》：空间与诗意影像、诗意电影中的非时序性时间布局，以及声音的创造性运用。
英文摘要：
Poetic films break conventional rules with the logic of poems and create new forms to connect the past, present and future and make audience experience at the most extent the depth and breadth of life. Poetic films are not about facts, but a creation of possibility. This creation aims to find a more intense and closer way to Connect man and the world, definite and indefinite, self and others. This paper makes a discussion about Crosscurrent and Kaili Blues from space, the arrangement of non-chronological cinematic time as well as the application of sound.
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