The film is the spatio-temporal media, so the narrative of film is the battle against time and goes with the movement of space. The director inserts vitally various cutaway techniques for the transformation between lots of scenes. Some film theorists use the transition scene, namely the cutaway mixed with the `editing` or `montage`. But the cutaway means literally only the technique for the crossing between `scene and scene`. The purpose of this paper is to explain the cutaway techniques over the pattern of similarity. The connecting between `shot and shot` within a homogeneous unit of space-time in the sense of editing therefore would be excluded from the object of this study. A magnificent cutaway transcends time and space, moves ahead with the narrative on logic, produces a new meaning, and delivers this sometimes symbolically, sometimes figuratively. There are various techniques for the cutaway as a filmic apparatus, this study however would be focused on the pattern of similarity. The concept of pattern of similarity includes the plasticly relationship between the precedent scene and the following scene, the continuity of the narrative situation and the continual probability of sound. Thus, this cutaway over the pattern of similarity could be divided up into three categories, namely the similarity of situation, shape and sound. Sure, the division of the three categories could not guarantee the clearness, and many directors use that often mixed with the other optical techniques, for example fade in/out or dissolve. However, the cutaway techniques under the conception of the pattern of similarity create the internal and external rhythm in film and emotional effects. In addition to that, it could contribute to the cinematic mediality of the effective delivery of the implicated messages.