The studies focusing on “Mou Lei Tou”as phenomenal problem had plenty of sources,yet few studies involve how it affects the film and forms the aesthetic effects as audiences watch the film.The semeiotics of cinema reached to its full wings in 1970s and marked the academic paradigm of close reading and the psychological analysis of the cinema.De-leuze’s philosophy,however,has set on polemics on the classic and contemporary psychoanalysis.Seeing films could be regarded as flowing of intensities in material activities.Based on his thoughts,watching “Mou Lei Tou”movies is equal to the convergency of the flow of unconscious film and of the audience’s body,from which the conscious activities are de-rived.The paper takes close reading of the scene as a text,and attempts to discover the logic built in the narration text (the break and recombination of signifying chain)and the formation of intensities incurred.A large number of cases are studied to summarize six rules of “Mou Lei Tou”films,as to reveal the interaction of intensities of the logic of film narra-tion and audience’s identification,which finally form the aesthetic effects.The “Mou Lei Tou”film is divided into three parts on the basis of the breaks in the film plot.The studies on how the film was affected by the interruption of “Mou Lei Tou”would assist to rethink the commercial tendency of the type film.%对于“无厘头”影片作为一种文化现象的研究很多，但却少有涉及穿插“无厘头”桥段如何对影片造成影响以及如何形成最终审美效果等观影过程的探讨。自电影符号学之后开始出现影片细读和精神分析取向，而德勒兹哲学则试图对传统的精神分析模式进行改造，将电影的观看视为强度流的物质实践活动。基于此，“无厘头”电影的观看可以看作镜头流与观看的观众身体流的汇合。把镜头流视为叙述文本，通过内在于文本的叙述逻辑（符号意指链的断裂／重组）之间张力的解读，在大量的镜头分析中总结出影片穿插“无厘头”桥段、形成审美效果的规律，并在三阶段的区分中分析张力强度与剧情认同程度关系所造成的影片整体审美效果变动。
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