本文自跨媒介方法出發，探討楊德昌《恐怖份子》（1986）如何展現並解構媒介特殊性，彰顯多重媒介間既分明又匯融之關係。本文首先聚焦於電影最後二十分鐘，透過蒙太奇結構與音畫部署，闡述其如何體現電影媒介的特殊性。其次，則討論電影與攝影於其中的媒介混融，以思考電影中的「攝影性」與攝影中的「電影性」。本文接著分析《恐怖份子》中電視與多螢幕（類）錄像裝置的運用，探討楊德昌如何挑戰傳統電影定義，拓展新電影的影像實驗與媒介思辨。最後，本文指出，《恐怖份子》一方面體現電影性與攝影性之特質，另一方面則打破媒介邊界。在1980年代媒介科技發展脈絡下，楊德昌透過攝影、電視與（類）影像裝置等多重媒介的融合，不僅關注電影與攝影媒介特質，亦嘗試探索電視與錄像美學。《恐怖份子》中對於媒介特殊性的強調與拆解，預示了其後楊德昌晚期作品於數位網路時代呈現的媒介匯流景觀。

This article adopts an intermedial approach to examine how Edward Yang’s Terrorizers (1986) both articulates and deconstructs the notion of medium specificity, highlighting the interplay between distinct yet interconnected media forms. The analysis begins by focusing on the final twenty minutes of the film, exploring its intricate montage structure and the deployment of sound and image to interrogate the ways in which Terrorizers foregrounds the specificity of the cinematic medium. The second section investigates the intermedial fusion of film and photography, considering how Terrorizers presents “the photographic” in cinema and “the cinematic” in photography. This article subsequently examines the presence of television and multi-screen (quasi-)video installations in the film, analyzing Edward Yang’s challenge to traditional concept of cinema and his expansion of Taiwan New Cinema’s experimental aesthetics and media discourse. In the end, this article argues that Terrorizers simultaneously embodies and disrupts the conventional distinctions between film and photography, destabilizing the boundaries that define medium specificity. Within the broader technological landscape of the 1980s, Edward Yang’s engagement with photography, television, and (quasi-)video installations not only reflects his sustained interest in the formal properties of different media but also signals an attempt to explore television and video art aesthetics. Ultimately, the film’s simultaneous assertion and deconstruction of medium specificity anticipate the emergent media convergence in Edward Yang’s later works, particularly in the context of the digital network era.