在台灣新文學史的發展軌跡當中，現代主義文學早在30年代即已萌芽於台灣文壇，可惜因戰爭與後殖民時代的影響，遲至60年代始於台灣文壇蔚為風潮，而當時西方思潮則已進化至後現代主義論述，而台灣則遲至80年代才正式進入後現代主義的浪潮裡。80年代正值台灣都市經濟倍速發展，以及電子媒體的普及與革命，一種代表多元、跨界、反威權與挑戰禁忌的非線性思維悄悄成為藝文界主流，在台灣新詩發展史上，以羅青與夏宇最具代表性。同時期西方哲學家德勒茲先後撰寫了《電影I：運動－影像》與《電影II：時間－影像》，透過電影語言的解析，試圖創造一種嶄新的哲學系譜，本研究將引用德勒茲的電影符號學，解析詩人羅青在80年代的詩作《錄影詩學》，以電影語言寫詩的實驗論述，並進一步分析發跡於80年代的詩人夏宇代表詩作《摩擦無以名狀》，充滿影像符號的跨界遊戲，探討台灣後現代主義詩作獨特的電影符號語言。

Taiwan new literature was synchronized with the international ideological trend of modern literature as early as the 1930s. Unfortunately, due to the World War II and the post-colonial era, modern literature concept was just created in Taiwan literary arena in the 1960s. Meanwhile, western ideological trend had evolved to post-modernism discussion. Until in the 1980s, Taiwan literary arena evolved into to the new wave of post-modernism. At the same time Taiwan economy grew rapidly as well as the popularity of electronic media revolution, a representative of the diverse, cross-border, antiauthoritarian and taboos-challenging, the so-called ＂nonlinear thinking,＂ which quietly became the mainstream in the fields of literature and art. In the history of Taiwanese New Poetry, we have to pay close attention to the most representative two poets-Lo Ching and Hsia Yu. In the same period philosophers Gilles Louis René Deleuze wrote ＂Cinema 1: The Movement-Image＂ and ＂Cinema 2: The Time-Image＂ in Paris. He was trying to create a new philosophical pedigree through cinema language. This paper will be referenced by Deleuze's cinema semiotics to analyze poet Lo Ching's poetry anthology named Video Poetics in the 1980s and to research how to write poetry by the experimental film language, as well as to analyze poetry anthology Friction. Unspeakable by poet Hsia Yu, full of amazing cross-border games of visual language. Through these case studies, we will overview cinema semiotics post-modern poetry in Taiwan.