This essay probes the visuality in Dianshizhai Pictorial to better understand the constitution of modern subjectivity and the experience of modernity in late nineteenth century Shanghai. I begin by looking at Dianshizhai Pictorial as an exemplary case, whose novelty in both images and material format, along with the technology of lithography, reflects and shapes a major transformation in the experience of modernity. By drawing on Wolfgang Schivelbusch’s notion of“panoramic perception,”I argue that these pictures function as a new perceptual mode mediated by technology, in this case, lithography and the serial format of publication, which flatten a previously sensual contact with the world to a mode of pictorial travel. In effect, the mode of continuous discontinuity and the velocity of lithographical production mediate the mass experience of modernity with a spatio-temporal reconfiguration of China in relation to the modern world. I relate this mode of “panoramic perception”with the experience of film viewing between 1896 and 1905 in Shanghai, Hong Kong, and Beijing. By closely reading documents on the receptions of the first film exhibition in advertisements and newspaper reports, I consider the“panoramic perception”as a proto-cinematic perceptual mode that prepares for the spectatorship of the first film exhibitions of Lumière and Edison films in China, especially through the notion of travel.%本文考察《点石斋画报》的视觉性如何建构晚清上海的现代主体意识及现代性经验。《点石斋画报》代表了一种新兴的影像及物质形式，与石印技术结合，反映塑造了现代性体验的一个重要的转型。借鉴沃尔夫冈·施文布什(Wolfgang Schivelbusch)的“全景视角”(panoramic perception)概念，本文提出这些图画作为一种新的科技化的感觉模式，通过石印及连续出版格式，将以往对世界的感观接触平面画，把它变成一种图画旅行。这种“连续的不连续性”和石印的快速生产通过对于现代世界的时空重构而对大众的现代体验产生中介作用。我将“全景视角”与1896年至1905年间上海、香港、北京的电影放映和观影经验相联系。通过察看第一批电影展映的广告和新闻报导，本文提出将“全景视角”作为一种初电影(proto-cinematic)的感觉模式，特别是通过旅行的概念，为卢米埃尔和爱迪生电影在中国的首批电影展映提供了文化接受的条件和观影模式。
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