當代影像藝術發展趨勢，已衝破類別與範式的限制，挑戰了既有論述的框架。幾十年來，關於紀錄影片與當代藝術之間的關係，亦發生重大變化。從國外各大雙年展與文件展透過藝術家紀錄影片展現政治藝術的多元方式，即為實例。臺灣藝術家陳界仁的《殘響世界》（2014-16），可謂是一部藉由各種不同展映與演說形態，重新思辨歷經社運的樂生療養院的作品。《殘響世界》遊走於紀錄影片與當代藝術之間，藉由混融紀實與虛構、政治與詩意、歷史與想像敘述圍繞在樂生療養院的院民、志工、外配及幽靈政治犯的故事。值得注意的，與其認為它僅奠基於宏大敘事，不如可視為陳界仁總不忘以「內在感受」作為政治藝術的必要構成。本文擬從藝術家兩部早期作品《機能喪失第三號》（1983）與《閃光》（1984）論辯其影像藝術的感性基因，並以他在《凌遲考：一張歷史照片的迴音》（2002）中對於「後延」，乃至《殘響世界》中的「殘響」與「謠言電影」等核心概念的思索，視陳界仁重塑臺灣當代藝術的政治行動與另類紀錄影片形態的試驗，乃是一種當代跨域影像思想的強力展現。

Today, moving image arts are no longer defined by conventional classification and genre, nor are they bound by preexisting theoretical frameworks. In the past few decades, the relationship between documentary and contemporary art has also transformed significantly. Showing artists’ documentaries has become commonplace for biennales keen on addressing diverse political viewpoints. An instance of such boundary-breaking work is Realm of Reverberation (2014-16) by Taiwanese artist Chieh-Jen Chen. Realm of Reverberation blends fact and fiction, politics and poetry, history and imagination to narrate a story on the patients, volunteers, immigrant brides, and the ghost of a prisoner of conscience in the Losheng Sanatorium. To provide a forum for public debate on the controversial conservation/demolition issue of the Loasheng Sanatorium, the screening of the work always includes speeches and related exhibitions. Nonetheless, Realm of Reverberation is not just a documentary with a grand narrative; it also displays how Chen’s “visceral feeling” led him to engage in politically-themed art. This paper will examine the key concepts in Chen’s works: The Sentimental Genes in Malfunctions No.3 (1983) and Flash (1984), the “aftermath effect” in Lingchi (2002), and the “reverberation” and “yaoyan films” in Realm of Reverberation, to argue that Chen’s experiments on shaping political action through contemporary Taiwan art powerfully manifests the trend of trans-disciplinary moving images.