本文探討林強與賈樟柯在《世界》（2004）與《三峽好人》（2006）中的電影音樂合作，特別針對林強以電子音樂的配樂方法開創出的現場詩學，作為標示賈樟柯紀實風格轉變的重要特徵。在兩部片中，林強創造性地運用電子聲響探索賈樟柯寫實美學的抽象層次，反映真實的不純性，並模糊劇情與紀錄的文類界線。由此觀點，本文檢視林強在賈樟柯電影中開拓的聲響美學如何呼應中國迅速現代化進程中瓦解與重建的日常感知。最後，本文藉由考察林強的配樂為賈樟柯的電影中開創出紀實風格的現場詩學，不僅再思考侯孝賢根植於台灣新電影的聲音寫實美學，更將開拓華語電影聲音研究的嶄新視野，探索下一個獨立電影世代持續不斷探問真實的影像與聲音。

This paper discusses Lim Giong and Jia Zhangke's collaborative work on film music in The World (2004) and Still Life (2006)-in particular how Lim's electronic film scores mark Jia's turn towards the xianchang (on-the-scene) poetics in his documentaries. In these two films, Lim creatively uses electronic sounds to explore the dimension of abstraction, expressing the impureness of reality in Jia's realist aesthetics that blurs the defining boundaries between documentary and fiction films. From this perspective, this paper examines how Lim's sound aesthetics in Jia's films responds to the destruction and reconstruction resulting from China's rapid modernization and its impact on individuals' everyday perceptions in the era of digital technology. Finally, this paper studies Lim Giong's film scoring for Jia's documentary on-the-scene poetics to productively rethink Hou Hsiao-hsien's sound realism rooted in Taiwan New Wave Cinema and to break new ground for sound studies in Chinese-language cinemas. In so doing, this study hopes to enhance the exploration of next-generation Chinese independent filmmakers and their insistent visions and voices of what is real.