從成英姝初試啼聲的《公主徹夜未眠》裡，可清楚見知她對「以小敘事解構大敘事」寫作技巧的嫻熟運用，然而，她隨後創作的極短篇並不偏重發展「列舉差異以翻轉既定論述」的手法，而更可能是延續八○年代以來社會運動的部分訴求（女性運動、勞工運動等），再注入實驗的文學創作形式，以開闢藝術上的新局。本文將從布希亞（Jean Baudrillard）的後現代理論思維出發，分析成英姝的極短篇小說集《私人放映室》，說明文學文本裡的微領域反抗如何被達成，也指出這些微領域反抗的困境和缺失。本文同時要檢視後現代的思潮和寫作技巧如何被編織進入在地脈絡、進而產生什麼樣的文本呈現？此外，《私人放映室》即時地探討解嚴後台灣社會充斥大量資訊的現象，也注意到媒體不再是透明、不可說的中介，本文故而參照布希亞的擬像理論，說明《私人放映室》對「真實」命題的辨證，以及對資訊社會的隱憂。雖是幽默荒誕的、軼聞式的、去地域或跨國界的寫法，《私人放映室》一方面呈現高度資本主義權力宰制下人類生存窘境和無力，一方面迂迴地回應當代社會的各種文化和媒體徵候，在社會向度的探察和哲學內容的演繹上，都有了更上一層的表現，因而是一個多層次的、在地脈絡化的後現代文本展演。

As the representative author of the「City Poetry」in 1980s, Song Lin's poems are poorly known since he went abroad in the early 1990s. In the exotic situation, with the training of internal dialogue and the concentration on writing, he has transferred the situation of exile into roaming in his poems, and consequently came into the poetics of vision, in order to explore the possibility of poetry writing in abroad. He also suggests that「the rhyme is the old garden of memory」, so that the various forms of memory could be set and sketched in the rhyme built by words and he integrates the audio elements into the poetics of vision. In order to achieve his poetic idea, Song Lin calls for 「digging」toward the root of words, and focuses his attention on the source of Chinese civilization.