It seems that such a narrative text does not essentially exist as composed of information, images, and symbols that are being absorbed into an integral centripetal point in interpretation. This world is seem as a massive illegible test and `Ecriture`, fragments of the huge test that have been put in a particular narrative test, is not merely a metonomy but also a metaphor, making the world in the test an obscure and distorted being. Among several kinds of narratives, an film narrative basically abounds in such symbolic factors that attracting spectators by diverging from the centripetal point and so the channel through which text interpreters communicate with the text cannot help being extremely complicated and overlapped. This is because images and information far more diversified than ordinary narrative stimulates us. - visual images created by camera angles, acoustic images carried by sound effects and background music, linguistic messages transmited by dialogues or narration of the characters and so forth - stimulate us. The objective of this research was to inquire into the communication codes of the movie `Crouching Tiger, Hidden Dragon` on the premise that a narrative text cannot but be multiple in voice. The movie `Crouching Tiger, Hidden Dragon` very rarely broke as a martial arts film the existing foreign move running record in the United States, won four Academy Awards, being an image text that had captivated the minds of American spectators. But there is a dissatisfied factor in explaining the popular sympathy of thi film merely from the perspective that it contains a lot of culturally heterogeneous factors and that it was created through the hand of director Lee ang. This is because there are not a few martial arts image narratives or texts by director Lee ang which have been looked away from American spectators. The writer of this research sees that one of the most significant factors that mediate popular communication in this movie is not the commonplace complications structure or ideology in which an exterior narrative is played as a foreground but the beauty of curves created by images and information alienated from the exterior narrative. Our civilization assumes linear forms when seen from a geometrical point of view. For example, linearly stretched streets, apartments in squares with streets, straight line currency and credit cards that have daily values. It is evident, however, that the geometry of nature is not a straight line but a curve. For example, crouching fetuses in the womb, winding ridges, curved branches, swinging leaves. Although we are pressed by the linear geometry, we are beings initially kept away from the world of these curves. Thereupon, we cannot help sensitively respoinding to the curves. Inasmuch as it is filled with numerous images of curves that stimulate the world of unconsciousness, the movie `Crouching Tiger, Hidden Dragon` came to win applause from the public. The duel scenes in a bamboo forest between Rimubai and Zhang ziyi may be said to be the ideal beauty of curves. With their bodily movements flying like a bird or a butterfly, the viewers feel the living rhythm of the cosmos. Furthermore, the characters in this movie show from start to finish bodily movements flying in a parabolic form. The mountainous hill at Northwest China where central characters whisper love each other is viewed as round like a parabola. What Zhang ziyi gives Chang chen as a token of unchanging love is a round comb. In the title "Crouching Tiger, Hidden Dragon, the writer of the research sees a curve from the soft back of the tiger and the body of the dragon curved in an elliptical form. Needless to say again, geometry is a reflection of the world vies. We who are pressed by a linear world view and linear geometry that emphasize arrival at the destination within the shortest time, taste a catharsis by being kept away from the liner world view amid numerous curves in the movie `Crouching Tiger,