本文以藍博洲所發展報導文學與口述歷史互文的書寫形式，探討報導文學跨媒介互文創作的意涵，並以藍博洲的報導文學作品〈幌馬車之歌〉為例證，探討此一特殊書寫型態的成就、侷限與意涵。研究發現：一、〈幌馬車之歌〉之中，藉由口述歷史的抄本形式，展現了受訪者特殊的語言、對白乃至俚俗語，生動地塑造了角色的面貌；二、藍博洲並未將口述歷史訪談的問題與對話全數刊出，將報導者隱身在文字之後，雖然與一般口述歷史抄本的規格不符，但提昇了報導文學的可讀性；三、藍博洲在〈幌馬車之歌〉之中以「鍾順和」化名的形式口述，綜合了多位政治受難者的證言，並用以鋪排時代背景，不符合口述史抄本之要求，是該文顯現出較大的侷限。

This thesis aims to discuss the intertextuality of Lan Bo-Zhou's (藍博洲) Song of the Covered Wagon (幌馬車之歌) from the strategic writing and its contents. The observation divides into three aspects: intertextuality in reportage, intertextuality between oral history and texts, and intertextuality in internal texts. The case chosen is Lan Bo-Zhou's Song of the Covered Wagon which stands as both narrative of oral history and reportage. Lan Bo-Zhou tells the story of one of the many Taiwanese who disappeared during the period of White Terror (1949 to 1987). Lan Bo-Zhou applies oral history to support historical data and documents. On the other hand, oral history helps to show representation, objectivity and authenticity. But Lan Bo-Zhou does not follow the methodology of oral history strictly. He creats a fictitious name Jhong Shun-He (鍾順和) who performs a particular role in expanding different perspectvies of interviewees. One drawback of this reportage is that it employed pseudonym improperly.