隨著現代媒介技術進步，紀錄片制播業也迅猛發展。但在紀錄片「製作者 ——紀錄片——受眾」制播鏈中（尤其是製作），強調唯科學實證主義路徑才能 保證紀錄片「真實和權威」主張受到質疑。通過對這一路徑依賴能夠實現紀錄片紀實之本體訴求的反思，借助對科學實證主義的批判和闡釋學主要觀點，來剖析科學實證與人文（藝術）闡釋兩種不同範式之間通約性困境。然後，從操作層面入手，尋找紀錄片製作中表徵其科學特徵的因果律變數的確定性及其恒常性問題無法解決之原因，分析其非理性因素存在不可避免。最後，通過確證制播鏈後半段之受眾與製作者之間見識融合度與各自唯我考量之間張力難以消除，間接論證唯科學實證主義路徑的絕對化不可行。也指出後科學實證主義為解決紀錄片本體紀實訴求的大致合理路徑。 

The documentary producing and broadcasting industry has been rapidly developing with the advancement of modern media technology. However, the claim that the path of scientific positivism is emphasized to ensure the documentaries contain “real and authoritative” is questioned in the chain of producing and broadcasting documentaries :“producer-documentary-audience” (especially production). Based on the path, we can realize the reflection on the ontological appeal of the documentary. It’s used to analyze the dilemma of incommensurability between the paradigms of scientific positivism and humanities(arts) interpretation，using the main views of critique of scientific positivism and hermeneutics. Then, starting from the manipulation, we have not been finding the answers to the certainty of variables and the problem of constancy in the causality law. The irrational factors must be exist. Finally, confirming that it is difficult to eliminate Knowledge Gap and the tension between audiences and producers, and it is indirect evidence to prove that the scientific positivism is not feasible in the documentary production. We also provide a roughly reasonable path to solve the “real and authoritative” pursuit of documentary ontology in the framework of post-scientific positivism.