電影是眾多文本中，一個不同場域的所在，比起小說等文學的文字洗鍊；電影著重的是影像的純粹以及「說故事」的表現手法。早從1990年代始，在林清介導演的《一個問題學生》就開始處裡青少年對於生活以及社會上的問題，而在2008年，臺灣電影低迷了十數年之後的《海角七號》的崛起，如何帶給往後「後新臺灣電影」的衝擊？本文欲從2010年代中「後海角時代」的紀錄片改編電影《翻滾吧！阿信》為主要參考文本，兼具紀錄片以及商業化電影的藉此迎合觀眾口味，反映出的也是自1980年代以降，電影中對於「青少年」此一名詞所指涉的對象以及代表性。筆者期望能從《翻滾吧！阿信》電影文本與青少年文化中加以分析，包含角色、對象，以及青少年在面對生活或是社會的變動與變遷、在與長輩有所衝突、與同儕互動的狀況及心理中看出21世紀臺灣本土電影對「青少年」此議題在敘事以及手法上的展現。

Film was a kind of the texts but in a different field. Not as concise as literary texts, film focused on image and 'story-telling' skills. A Problematic Student which filmed by Ching-Jie, Lin (林清介) was already shown how adolescents dealt with their lives and social problems since 1990. In 2008, Cape No.7 rose to fame after more than ten years Taiwan film's depression, and how did the phenomenon impact on 'Post-New Taiwan Cinema'? This paper took Jump Ashin! which was a film that adapted from a documentary in 'Post Cape Period' in 2010 as the text to illustrate, in order to comprehend what 'adolescents' referred and represented after 1980s. The researcher analyzed Jump Ashin! and youth culture; including analyzing roles, how adolescents faced lives and social changes, and what 'adolescents' mental conditions were when they in conflicts with elders or interacting with peers, so that we could find that how 'adolescents' issues were presented in Taiwan cinema in 21st century.