本文檢視黃亞歷的紀錄片作品《日曜日式散步者》中關於文學史內容剪裁與影像表現風格，說明這一特殊的音像配置如何形構其獨特的文學史敘述。本文將這一敘述構成理解為「少數」的歷史編纂學，一方面固然因為影片選擇了風車詩社這一少數邊緣文學團體，但更重要的則是因為影片的音像配置體現了不同於主流文學史的少數傾向。本文進一步將影片特殊的影像表現風格理解為電影鏡頭所構築的「自由間接敘述」。這一表現形風格主要透過破碎化影像與大量蒙太奇剪輯而得以表現。本文認為，影片展示的特殊音像配置體現了文學紀錄片新的美學典範，藉此召喚未來不同的作家描繪與可能的文學史敘述。

This paper examines the splicing of literary historical materials and their presentation in Huang Ya-li’s documentary film Le Moulin. I argue that its special sound-image assemblage produces a unique narrative of a literary history. This particular literary narrative should thus be recognized as a “minor historiography,” not only because of Huang’s focus on a minor literary group named “Le Moulin” but also because of the film’s tendency to compose a minor literary history that deviates from the majoritarian version. The paper further considers the film’s cinematic presentation as an example of “free indirect discourse,” embodied by fragmented images, the irreducible interstices between them, and the prominent montage sequences hence produced. This paper argues that Le Moulin presents a new aesthetic paradigm of literary documentary that calls for possible descriptions of writers and literary historiographers to come.