當代中外影像藝術發展其中一個蔚為風潮的現象，錄像藝術複訪電影史事，以之作為形塑嶄新史觀與美學表徵的主體。近年來，臺灣新世代藝術家透過錄像藝術頻頻探問臺灣電影，成為教人關注的藝術跨域事件。值得深思的，這不僅限於藝術實踐範疇，亦與影史編撰學脈脈相通。錄像藝術複訪電影，既屬跨界創置，又助於跨域影史的重思。藝術家蘇匯宇的《唐朝綺麗男（邱剛健，1985）》（2018）與《女性的復仇》（2020）及其與鄭先喻合作的《復仇現場》（2021），堪稱錄像藝術重寫臺灣電影史事的力作。顧名思義，《唐朝綺麗男（邱剛健，1985）》補拍邱剛健原作。《女性的復仇》與《復仇現場》則取材自流行於1970年代末、80年代初的「社會寫實」電影，更挪借曾壯祥「新電影」時期完成《殺夫》（1984）的驚駭場景。蘇匯宇分別展映於影展與美術館的這幾件作品，在結合兩種不同媒介與藝術範式之餘，關鍵之處，還由於重新組配不同影史事件，進而推動重新思辯跨域影史編撰學的潛勢。

Creating video artworks inspired by film history to provoke its interpretations has been a recent global phenomenon. In the past few years, young Taiwanese artists have also made a foray into the archive of Taiwan cinema. This new artistic practice merits further examination as it has a profound impact on creating cross-disciplinary artworks and generating cross-disciplinary cinematic evaluations. Of all works in the genre, the most noteworthy ones are arguably The Glamorous Boys of Tang (2018), The Women's Revenge (2020), both by artist Hui-yu Su, and Revenge Scenes (2021) by Su and Hsien-yu Cheng. While The Glamorous Boys of Tang is a partial reshoot of Kang-chien Chiu's Tang Dynasty Beautiful Male, The Women's Revenge and Revenge Scenes are inspired by Taiwan's “pulp noir” popular in the 1970s and '80s. The two revenge films also re-appropriate some of the gruesome scenes from The Butcher's Wife (1985), directed by Chuang-hsiang Tseng in the era of “Taiwan New Wave Cinema.” The significance of Su's works, exhibited in various film festivals and art museums, lies in their success of transgressing the boundary of two different art forms, and of juxtaposing several unrelated cinematic events to encourage a sweeping revisitation of the historiography of cross-disciplinary images.