This research is divided into two parts. The first part takes the discourse of “the intersection of art and cinema” as its starting point, with the specific aim of exploring the transformation of narrative modes in moving image art, which has, since the 1960s and 1970s, developed anti-narrative and anti-illusionist traditions. Taking the historical inquiry posited by the first part as foundation, the second part explores moving image works in the context of contemporary art, focusing on those with obvious tendencies to construct narratives and fictions, and thus standing in stark contrast with those which focus on sculptural models of installation and generate a mobile mode of spectatorship. The argument is that the narrative turn of moving image art ushers in a new phase in the intersection of art and cinema, where the presence, or absence, of narratives no longer provides crucial reference points by which to categorize a work, and the focus should be directed to how the presence or absence of narratives is emphasized, practiced, and even how this aspect of a work determines the arrangement of audio-visual elements. In the post-medium era, in which the modernist model of medium specificity is no longer valid, this is the key question still awaiting an answer in the practices of, and research into, moving image art.