本文运用德勒兹的本体化影像理论，深入探讨日本新浪潮代表人物——寺山修司的实验影像作品的哲学内涵与艺术生命力，通过层层递进的方式分类探析寺山修司在不同作品中呈现的“回忆－影像”“梦幻－影像”以及“晶体－影像”，揭示了其对时间的独特理解以及在电影本体和视听情境方面的革命性实验。文章指出，寺山修司的实验影像作品不啻展示了其先锋反叛的影像实践，亦为影像艺术的实践提供了新的思路与方向。此外，在以往的相关研究中，寺山修司的实验影像短片作品相对被忽视，多数研究聚焦于其电影长片作品。因此，本文的研究旨在为国内的寺山修司作品研究提供新的视角和思路，以更全面地理解和评价这位天才导演的艺术成就。 第一章通过分析寺山修司实验影像的研究现状，明确运用德勒兹影像理论对寺山修司影像的哲学内核与影像生命力进行研究的目标；第二章梳理了寺山修司的实验影像作品对色彩、声音、空间等影像语言的实验性运用，进而造成与传统“感知－运动情境”的断裂，实现对运动－影像的反叛；第三章论述了寺山修司实验影像通过“刻意识别”、时间分岔、影像变形等方式呈现“回忆－影像”与“梦幻－影像”；第四章论述了寺山修司实验影像通过潜在影像与现实影像的结晶对“时间－影像”作直接呈现。第五章为结论，总结寺山修司对哲学命题与影像生命力的探索，从切断“感知－运动链条”到促成潜在影像与现实影像的循环交融，使影像逐渐不再模仿外界而开始显现自身，迸发无尽的生命力并在时间中不断分岔，在永恒的生成中流变。 本文期望作抛砖引玉之用，通过深入挖掘寺山修司实验影像的哲学内核与影像生命力，从而引发更多学者对寺山修司及其作品的关注与深入研究。

Utilizing Gilles Deleuze's ontological theory of cinema, this paper delves into the philosophical implications and artistic vitality inherent in the experimental films of Teruayama Shuji, a pivotal figure in the Japanese New Wave movement. Through an analysis of Shuji's portrayal of "memory-image," "fantasy-image," and "crystal-image" across his diverse oeuvre, this paper reveals his unique understanding of time and revolutionary experimentation in cinematic ontology and audiovisual contexts. Shuji's experimental films not only showcase his avant-garde and rebellious cinematographic practices but also offer fresh perspectives and directions for the evolution of cinema as an art form. However, within domestic research, Shuji's experimental short films have received relatively scant attention, with the majority of studies focusing on his feature-length works. Hence, this paper aims to provide new perspectives and approaches for exploring Shuji's oeuvre in China, facilitating a more comprehensive understanding and appreciation of this talented director's artistic achievements. Chapter One analyzes the current research status of Terayama's experimental films in China, clarifying the objective of using Deleuze's theory to explore the philosophical core and artistic vitality of his films. Chapter Two summarizes the experimental utilization of color, sound, space, and other visual languages in Terayama's experimental films, which results in a rupture with the traditional "sensory-motor schema" and achieves a rebellion against motion-image. Chapter Three discusses how Terayama's experimental images present "memory-image" and "fantasy-image" through techniques such as conscious recognition, temporal bifurcation, and image deformation. Chapter Four focuses on the direct presentation of "time-image" in Terayama's experimental films, attempting to establish a link between direct time-image and his experimental oeuvre. Chapter Five concludes by summarizing Terayama's exploration of philosophical themes and the vitality of cinematographic art, ranging from severing the "sensory-motor chain" to facilitating a symbiotic blend of latent and actual images. This transition enables cinema to gradually emancipate itself from mimetic tendencies, embarking on a path of endless self-generation, bifurcation, and flux within the expanse of time. This paper aims to serve as a catalyst for further academic interest and in-depth studies of Terayama and his works. By delving into the philosophical implications and artistic vitality of his experimental films, it hopes to inspire more scholars to pay attention to and conduct thorough research on Terayama and his oeuvre.