羅青於1980 年代提倡「錄影詩學」，創作與理論並行，出版《錄影詩學》（1988）以建構新形式、新內涵的現代詩品類。其錄影詩理論能追源至詩、畫關係，藉由詩行實踐視覺經驗，蒙太奇拼貼手法亦被大量而靈活地運用。目前學界多將羅青此時期的作品視為形式超越內涵的嘗試之作，較少細究內裡的後現代精神。本文發現，《錄影詩學》體現1980 年代臺灣現代詩的後現代徵狀，不僅在讀法上力求新穎突破，主體游移甚至消失的狀態也時時存在詩的底蘊中。錄影詩學實為羅青一部分的後現代文學史改寫計畫，雖未能綿長延續至今，卻能為1980 年代現代詩史標定新一層意義

Luo Qing advocated a new genre of Taiwanese modern poetry through his ＂Video Poetics＂ in 1988, which explores the implications of the electronic media and the importance of visual image. He proposes 'theory of video poetics' by analyzing the differences of the perspective between traditional Chinese painting and western painting, combining with ideas of post-modernism that also ‘introduced’ to Taiwan by Luo Qing. However, the spirit in ＂Video Poetics＂ is hardly investigated before this study. In fact, as a Chinese painting artist at the same time, Luo Qing added the visionary experiences into modern poetry trough created new ways of writing and reading. This project offers further reflections on ＂Video Poetic＂, illuminating its meaning and position in Taiwanese poetry during 1980s