一百多年前20 世紀初，在瑞士蘇黎世，一場串連視覺藝術、詩文學、戲劇和美術設計等領域的藝文運動悄悄展開，被藝術史譽為顛覆、摧毀舊有歐洲社會文化秩序的革命性思潮，名為達達主義(Dadaism)。達達主義所傳達的運用「現成物創作」的觀念，時至40年代電影底片媒材逐漸穩定，也影響了實驗電影「舊片衍用」的創作模式探索，其中最具代表性的是Bruce Conner，當時他便慣以舊膠捲加工、拼貼既有膠卷來做實驗片，從現成被遺棄不用的膠片素材再生，試圖賦予這些被人們視為沒有價值的棄物一個嶄新的藝術價值。本研究將以筆者「舊片衍用」的實踐創作為起點，深入探索實驗電影百年發展以來對於影片現成物再製再生的風格，以及衍生的創作課題。

In the early 20th century, an art movement of the European avant-garde was born that involved visual arts, literature, poetry, art manifestoes, art theory, theatre, and graphic design. This avant-garde movement was regarded as a revolutionary thought that destroyed the traditional European social and cultural order, named Dada (Dadaism). A concept of ＂ready-made＂ from Dada affected the experimental film ＂found footage＂ creative mode due to film negatives media gradually stabilized in 1940s. Bruce Conner is the most representative film artist. His avant-garde film always displayed and created a brand new artistic value from many discard films or existing film materials. The thesis will research ＂found footage＂ concept from researcher's experimental film artwork and explore ＂ready-made＂ style and ＂recyclage＂ mode from some classic avant-garde films, as well as the artistic creation issues.