叙述性诡计作为日本新本格时期的推理小说中被大量使用的一种写作技巧，近年来被越来越频繁地运用于影视剧、动画、游戏等视听叙事作品当中。这些基于视听语言的叙述性诡计，不仅能够加深观众对视听语言表意的认知与理解，同时有助于佐证与完善现有视听叙事学理论，也为当下视听语言的创新性使用带来新的可能，然而国内对该技巧的研究却存在大量的空白。在文本中，笔者将尝试在对过往搜集到的采用叙述性诡计的作品文本进行拉片与细读的基础上归纳其特征，探讨其叙事特点以及对受众的作用机制。
        笔者将首先对视听艺术作品中的错觉传统进行大致梳理，并指出叙述性诡计正是当下揭示视听艺术错觉本质的全新形式。笔者从推理小说中叙述性诡计的定义讨论切入，对视听叙事作品中的叙述性诡计概念进行界定，之后的内容事实上都是对该定义的进一步细化与讨论。接着笔者参考彼得·菲尔斯特拉腾对电影中的叙述者的划分，对基于视听语言设计的叙述性诡计按照视觉轨道、听觉轨道以及两个轨道的配合三个方面进行分类，详尽论述了在各个类别中叙述者是如何将精妙的视听技巧转化为作品的核心诡计。在基于画面的叙诡中，笔者阐述了由六个画外空间引发的影像性质的改变、缝合体系的失效以及纵深关系的混淆，由银幕分割导致的多个事件同时发生的假象以及借助阴影与虚焦对空白存在进行合理化的行为，而这些叙诡之所以能够实现，在于观众对画面空白的忽视与错误填补。在基于声音的叙诡中，声音不再具有罗兰·巴特所谓的“锚定”功能，笔者讨论了由不可见的声源与不可测的声距所展现的声音的多义性、不确定性以及易被忽视的特性。在基于声画结合的叙诡中，那些对五种表现材料进行整合的行为宣告失败，那些对时空关系与套层关系的构建遭到推翻，它们共同拆穿了蒙太奇的错觉实质，一个世纪的蒙太奇传统不得不被重新审视。然后笔者将对上述个案进行总体的基于叙事学理论的分析，阐述了在这些作品中具有自我意识的叙述者没有掩盖自己的在场与干预行为，并参考弗朗索瓦·若斯特对电影聚焦的分类方式，指出叙述者通过视角变换与权力自限，对叙述视角进行巧妙运用，而诡计的揭露往往也体现了聚焦含混的特征。同时笔者也将对韦恩·布斯的不可靠叙述的概念进行更贴合该类作品的改进，指出这类作品的叙述者往往是从未欺骗观众的非人物不可靠叙述者。在对定义中的“视听技巧或叙述方式”进行充分讨论后，笔者在最后将从接受美学的角度切入，集中讨论这类作品对观众接受效果的作用方式，阐述这些具备强烈自我指涉性的视听语言叙述性诡计所引发的间离与过度效果以及针对观众期待视野的更新功能，通过幻觉的建立再击碎过程制造一种强烈的反差，最大程度地给予观众惊喜之感。

        Narrative tricks, as a writing technique widely used in Japanese detective fiction during the new mystery period, have been used more and more frequently in audiovisual narrative works such as films, television dramas, animations, and games in recent years. These narrative tricks based on audio-visual language can not only deepen the audience's cognition and understanding of the meaning of audio-visual language, but also help to corroborate and improve the existing audio-visual narratology theories. At the same time, it can also bring new ideas to the innovative use of audio-visual language. However, there are a lot of blanks in the domestic research on this technique. In this thesis, the author will try to summarize its characteristics on the basis of carefully reading the texts of works using narrative tricks collected in the past, and discuss their narrative characteristics and the mechanism of action on the audience. 
        The author will firstly sort out the tradition of illusion in audio-visual art works, and point out that narrative tricks are a new form to reveal the essence of audio-visual art illusion. The author starts from the discussion on the definition of narrative tricks in detective fiction, and defines the concept of narrative tricks in audiovisual narrative works. And what follows is actually a further refinement and discussion of the definition.Then, referring to Peter Verstraten's classification of narrators in films, the author classifies the narrative tricks based on the design of audio-visual language according to three aspects: visual track, auditory track and the combination of the two tracks, and elaborates on how, in each category, the narrator translates subtle audiovisual techniques into the work's core trick. In the picture-based narrative tricks, the author expounds the changes in the nature of the images, the failure of the suture system, and the confusion of the depth relationship caused by the six off-screen spaces. The author also describes the illusion of simultaneous occurrence of multiple events caused by split screen and the act of rationalizing the existence of blanks with the aid of shadows and defocusing. The reason why these tricks can be realized is that the audience ignores and wrongly fills in the blanks of the images. In the sound-based narrative tricks, sounds no longer has what Roland Barthes called " ancrage" function. The author discusses the ambiguity, uncertainty, and easily overlooked characteristics of sounds manifested by invisible sound sources and unmeasurable sound distances. In narrative tricks based on the combination of sounds and pictures, those attempts to integrate five representational materials fail. Those constructions of space-time relations and layered relations were overturned. Together they debunk the illusory essence of montage. A century-old tradition of montage has to be revisited. After that, the author will make an overall analysis of the above cases based on the narratology theory. The author describes the self-aware narrators don’t cover up their presence and intervention. Referring to Fran?ois Jost's classification of filmic focalization, the author points out that the narrator uses the narrative focalization skillfully through the transformation of viewpoint and the self-limitation of power. The revelation of the trick is often characterized by ambiguity in focalization. And the author will also make improvements to Wayne C. Booth's concept of unreliable narrative in order to fit these works better. The narrators of such works are often non-character unreliable narrators who never deceive the audience. After a full discussion of the "audio-visual technique or narrative style" in the definition, finally the author will start from the perspective of reception aesthetics, focusing on the way such works affect the audience's experience. The author will describe the Verfremdung(alienation effect) and excessive effects caused by these strong self-referential audio-visual language, as well as the updated function of the audience's horizon of expectation. By creating a strong contrast through the building and crushing process of the hallucination, they give the audience a sense of surprise to the greatest extent.