本論文以吳音寧《江湖在哪裡？─臺灣農業觀察》為焦點，探討此篇報導文學作品如何以文字的影音美學，刻畫出全球化下臺灣農業的結構性問題。第一部分將以吳音寧報導方式的繼承與開展為中心，討論作者的創作背景、左翼文學的創作理念與影音創作手法的開展。第二部分將討論作品如何藉由影像拍攝及剪接的文字美學，呈現人、事、物多層次的交叉對話，藉此提煉從土地出發的感性要素，並突顯「糧食即生命」的主題。第三部分探討以文字模擬聲音來再現歷史現場的影音美學，透過撰寫證詞、旁白、配音、音效等手法，辯證出「農地為農業根本」的核心概念，揭露全球化口號下臺灣農業政策的荒謬性。結論則提示這部反思全球化下農業問題的報導文學作品，如何以文字的影音美學激發情感和行動的力量，試圖引發讀者思考一種符合人和土地共生共存模式的可能。

With its focus on Wu Yin-ning's Where Is Jiang-hu? - Observation of Taiwan's Agriculture , this essay examines how this reportage uses audiovisual aesthetic to depict structural problems of Taiwan's agriculture in the era of globalization. The first part emphasizes Wu Yin-ning's writing heritage and specialty, for instance, writing background, ideals of Leftist literature, and the creation of a new style combined with audiovisual effects. The second section discusses the use of visual techniques of shooting and cutting to create dialogue among different people, objects, and events. Such writing aesthetic conveys the essential feelings for the land in order to highlight the motif of ＂Food is life.＂ The third part explores how writing imitates various voices and sounds to reproduce historical events. These audio techniques include testimony, narration, dubbing and sound effects. Debates among different perspectives together contribute to the declaration of the core idea, ＂Land is the root of agriculture.＂ This idea reflects how ridiculous agricultural policies in Taiwan are made in accordance with ideology of globalization. The conclusion highlights the power of awakening and action in this work, which triggers readers' search for a possibility that would better suit the survival of both human and land.