本論文以電影史與媒介考古學的跨學科視角，探討西方早期電影在十九世紀末至二十世紀初由印刷文化向影像文化轉型的歷史進程中，如何背離既有敘事理性，開展出不同於文學與戲劇傳統的影像表達方式。研究認為，早期電影中的「反敘事」是影像作為一種全新的媒介形式在生成自身語法時所顯露出的深層傾向，透過對因果邏輯、動機導向與封閉結構的偏移，反敘事實踐構成電影媒介在歷史初期對印刷文化敘事秩序的結構性回應。
在理論層面，本研究以媒介分期理論與影像美學為出發點，闡明經典敘事學建構的因果秩序與文本中心主義，實為印刷文化規訓心智的歷史模型，動態影像作為以時空綿延、具象意象與直觀開放為特徵的基質，其視聽感性天然與語詞理性存在結構張力。結合吸引力電影理論與現代派藝術思潮，本文揭示早期電影中碎片化、場面中心與情境化影像實踐，是影像媒介訴諸感官即時衝擊與主體知覺解放的原初本能。
在方法論上，本研究採取以媒介考古學為核心的多重研究策略。首先，透過媒介考古學視角，重新審視電影作為一種「技術-感知裝置」如何在印刷文化敘事霸權逐步鬆動的歷史節點中，生成新的觀看方式與感官秩序。其次，結合電影史譜系分析，依循反敘事的歷史生成路徑，系統梳理西方早期電影中從奇觀展示、感知主觀化到心理空間化等不同階段的反敘事實踐。第三，引入比較研究法，圍繞印刷與影像、文字語詞與視覺技術展開跨時代與跨媒介的結構性對照，透過釐清不同主導媒介的感知偏向，揭示反敘事乃影像文化轉型中的必然張力。最後，透過文本細讀方法，對代表性作品進行形式分析，揭示其背後的媒介自覺與美學指向。
本研究的主要貢獻體現在三個層面：其一，從媒介基質與敘事邏輯互構的角度，重新定位西方早期電影在電影史中的理論位置，突破以敘事成熟度為中心的線性史觀；其二，重構一條在主流電影史中長期被遮蔽的反敘事生成路徑，凸顯影像文化在其形成階段所具有的實驗性與多重可能性；其三，透過「視覺詩學」與「詩性智慧」的概念，說明影像如何在敘事之外生成意義，並為理解當代數位影像中碎片化、去情節化與感性導向的視聽實踐提供歷史參照與理論啟示。
透過上述論證，本文試圖在媒介轉型的宏觀脈絡下，深化對影像文化本體與視覺現代性的理解。

From the interdisciplinary perspectives of film history and media archaeology, this dissertation examines how early Western cinema, during the historical transition from print culture to image culture from the late nineteenth century to the early twentieth century, departed from established narrative rationality and developed modes of visual expression distinct from the traditions of literature and theater. It argues that the “anti-narrative” tendency in early cinema represents a deep-seated inclination of the image as a radically new medium in the process of generating its own syntax. By deviating from causal logic, motivation-driven plots, and closed structures, anti-narrative practices constitute a structural response of the cinematic medium to the narrative order of print culture in its early historical phase.
At the theoretical level, this study takes theories of media periodization and image aesthetics as its starting point to demonstrate that the causal order and textual centrism constructed by classical narratology are in fact historical models through which print culture disciplined the human mind. The moving image, as a substrate characterized by spatiotemporal duration, concrete imagery, and perceptual openness, inherently possesses an audio-visual sensibility that stands in structural tension with the rationality of language. By integrating the theory of the cinema of attractions with the intellectual currents of modernism, this dissertation reveals that the fragmented, spectacle-centered, and situational image practices widely present in early cinema are the primal instincts of the image medium to appeal to immediate sensory impact and to emancipate subjective perception.
Methodologically, this study adopts a multi-layered research strategy centered on media archaeology. First, from a media-archaeological perspective, it reexamines cinema as a techno-perceptual apparatus, exploring how it generated new modes of viewing and sensory orders at a historical juncture when the narrative hegemony of print culture was gradually being loosened. Second, in combination with genealogical analysis in film history, it systematically traces the historical formation of anti-narrative in early Western cinema, ranging from the display of spectacle and the subjectivization of perception to the spatialization of psychological experience. Third, it introduces comparative methods to establish cross-era and cross-media structural contrasts between print and image, as well as between verbal language and visual technology. By clarifying the perceptual biases of different dominant media, it reveals anti-narrative as an inevitable tension within the transformation to image culture. Finally, through close textual analysis, it conducts formal analyses of representative works, revealing the media self-consciousness and aesthetic orientation underlying these practices.
The main contributions of this dissertation can be identified on three levels. First, by examining the mutual construction of media substrate and narrative logic, it repositions early Western cinema within film history and moves beyond a linear historical view centered on the maturity of narrative form. Second, it reconstructs a trajectory of anti-narrative formation that has long been obscured in mainstream film history, highlighting the experimental nature and multiple possibilities of image culture in its formative stage. Third, through the concepts of “visual poetics” and “poetic wisdom,” it explains how images generate meaning beyond narrative, while also providing historical references and theoretical insights for understanding the fragmented, de-emplotted, and affect-oriented audiovisual practices of contemporary digital images.
Through the above arguments, this dissertation seeks to deepen the understanding of the ontology of image culture and visual modernity within the broader context of media transformation.

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