此篇論文是在討論上海地區於1920年代晚期至1930年代早期所出版的畫報，主要聚焦於《上海漫畫》（1928-30）及《良友》。研究旨在探索此類報刊中，有關編輯結構與讀者／觀者經驗的互動關係，以及彼此的相互斡旋。結構特徵包含封面功能、篇幅、重複性的插曲式專題、標題，以及側文本要素，例如內容目錄及編輯評論。讀者／觀者經驗則包括內容的堆疊、透過報刊引導、浮奢美感，甚至心理的視野亦取決於刊物內容與視覺圖像。《上海漫畫》中的圖畫、連環漫畫、文本以及照片等一系列多重媒材，促進了1930年代早期的《良友》邁向重視照片短文的發展。《上海漫畫》依舊對於表現形式的複雜相互作用，和特別是封面藝術的轉變，投以關注眼神，這喚醒了欲望和幻想兼具的都市夢想世界。

This essay discusses pictorial journals published in Shanghai in the late 1920s and early 1930s, with a particular focus on Shanghai Sketch (Shanghai manhua 上海漫畫, 1928-30) and The Young Companion (Liangyou 良友). The study explores the interaction of editorial structure, reader/viewer experience, and mediation in these journals. Structural features include the cover function, the spread, repeated episodic features, headings, and paratextual elements such as tables of contents and editorial comments. Reader/viewer experiences involved layering of content, navigation through the journals, an esthetic of surplus, as well as psychological horizons conditioned by journal contents and visual presentation. The full multi-medium array of Shanghai Sketch, including drawings, cartoons, text, and photographs, moved in the early 1930s Young Companion toward an emphasis on the photo-essay. Shanghai Sketch remains of interest for its complex interplay of media forms, and for the particular inflections of its cover art, which evokes an urban dream-world of desire and fantasy.