本文企圖依循著強納森・科拉瑞《觀察者的技術》一書之論述邏輯，接續其研究範疇之後，再將視野推向十九世紀末期的電影、二十世紀中期之錄像媒材。且雖從攝影術、電影以及錄像這些標題的字面上來看，筆者是藉由各種視覺呈顯之器材，框限、設定出一個研究領域以及時期界定，同時涉及到此領域中各關鍵性媒材發展間的脈絡轉變；但並非單純的僅從工具的發展史切入，而更大部分的重點將著眼於動態與靜態影像之間，於創作者及觀者處所形構之對人們觀看方式以及思考模式的影響與轉變。

This paper attempts to follow logics expounded in Jonathan Crary’s book ‘Techniques of the Observer”, continue research category of this book and expand field of vision into movies of the end of 19th century and video media of mid-20th century. From perspective of titles such as photography, movie and video, the author frames and sets a research field and time definition by virtue of various visual-representation equipment; at the same time, changes in development of all key media of this field are also involved. However, this paper doesn’t just investigate development history of tools but emphasizes influences on and changes in “creators and observers’ mode of viewing dynamic and static images” as well as “their thinking mode”.