從藝術設計教學來說，學生對於訊息的認知傾向透過經驗、記憶與提取等處理過程進行理解與反應，而這些絕大部分都是經由體驗與學習所得的。本研究從分鏡腳本教學觀點，探討文本的視覺化程序與學生學習背景不同之間的關係，以新詩文本體裁為受試樣本，透過問卷方式試圖找出文本與視覺化的景別鏡位對應情形。從研究結果中整理出以下發現：（1）不同「學習背景」受試學生之「詞句情境」差異，有相同或接近的鏡位選擇表現；（2）「設計背景」組與「非設計背景」組受試學生在記憶情境、禪悟情境境的「文本」鏡頭表現力認知，存在有較大的差異性；（3）在「詞句情境」解譯上，「設計背景」組的受試學生，對於現實情境與禪悟情境的鏡頭表現力，相較於「非設計背景」組受試學生，有偏好聯想景別鏡位小、廣的趨向；而在記憶情境與超現實情境的鏡頭表現力則恰巧相反；（4）「非設計背景」組受試學生對於具有「自身」投射意含的語句，選擇的景別鏡位則會趨向特寫的，對於過於「抽象」的語句，則會趨向選擇遠景的景別鏡位。反觀「設計背景」組受試學生的選擇則皆呈現逆向結果。

In art design instruction, students tend to comprehend and respond to messages according to their experience, memory and knowledge extraction. They mostly rely on experience and learning. From the perspective of storyboard scenario instruction, this study probed into the relationship between the visualization of texts and students' different learning backgrounds. Texts of new poems were treated as samples. A questionnaire survey was conducted to find correspondence between texts and the visualized shot sizes of the scene. The findings are as follows: 1) students with different learning backgrounds had the same or similar shot sizes; 2) students in the design background group and those in the non-design background group showed differences regarding the cognition of text shot expressions in memory scenarios and enlightenment scenarios; 3) in terms of the interpretation of sentence scenarios, in comparison to the non-design background students, the design background students preferred a small and wide scene shot size for shot expressions in reality scenarios and enlightenment scenarios; while the situation was the opposite for shot expressions in memory scenarios and surreal scenarios; 4) the non-design background students tended to shoot close-up scenes for sentences reflecting self, and when shooting abstract sentences, they tended to shoot distant scenes; on the contrary, the design background students showed the opposite result.