本文的研究分為兩個部分，第一是從「藝術與電影的交會」這個論述脈絡出發，探討動態影像藝術這個自60、70年代開始就建立起明確的「反敘事」、「反幻象」之傳統的藝術形式，如何處理「敘事」的概念；第二是要以上述的演變脈絡為基礎，分析目前在當代藝術場域（美術館、藝廊與雙年展等有別於制式電影院的空間）中，出現越來越多具有明確敘事企圖與結構、也因此與過去那些強調以雕塑型的裝置來製造動態的觀者經驗的作品不同的動態影像藝術，並且論證這樣的敘事轉向證明了「電影與藝術的交會」已經走到了一個新的階段，使得「敘事」的有無不再是區分領域的簡易標籤或定調論述形構的憑藉，而「敘事的有無是以何種形態來被突顯、實踐、甚至成為主導影音佈署的原則」，才是現代主義式的媒介特性論已然失效之後的、後媒介時代的動態影像藝術必須回應的問題。

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 In the post-medium era, in which the modernist model of medium specificity is no longer valid, this is the key question still awaiting an answer in the practices of, and research into, moving image art.