鍾宗憲Chung, Chung-Hsien鄭伊秀Cheng, Yi-Hsiu2023-12-082023-08-072023-12-082023https://etds.lib.ntnu.edu.tw/thesis/detail/0b009d1cffebed73538b550f54bc9e0b/http://rportal.lib.ntnu.edu.tw/handle/20.500.12235/119857本研究以鄭保瑞三部電影——《西遊記之孫悟空大鬧天宮》、《西遊記之三打白骨精》、《西遊記之女兒國》來探討文本與電影間改編的差異。筆者從情節比較、人物設定差異、主題思想三方面探討。原著與電影情節的比較上，從電影的增刪情節，探討電影如何改編、重組原著文本，利用電影敘事模式的「古典模式」解析電影劇情，探究電影增刪情節背後的原因。電影人物設定的差異，本文從角色塑形、人物損益、兩方面探究電影中角色的更動與調整，電影中人物變動與調整，對劇情的發展是非常重要的元素。筆者藉由喬瑟夫・坎伯的英雄理論分析三部電影中孫悟空、唐三藏的成長歷程，電影中的人物面對劫難、突破各種難關，從中看到孫悟空的自我衝突、唐三藏與孫悟空之間的立場衝突、唐三藏信仰與情感的衝突，衝突過後，人物自我提升，完成自我的英雄之旅。電影的主題思想，從導演在劇情上的增刪、編排、重組，探究導演對現實人生的關照。鄭保瑞導演站在現代人的觀點重新詮釋這三部系列作品，《大鬧天宮》利用特效呈現激烈的戰鬥場面，《三打白骨精》重新形塑人物角色，使劇情千回百轉，角色立體鮮明，《女兒國》挑戰觀影者對出家人的形象，唐僧動情後對世間有新的人生體悟，更堅定自己的取經之行。This paper studied the film series directed by Zheang Baorui – “The Journey to the West: Sun Wukong (aka the Monkey King) Wreaks Havoc in Heaven”, “The Journey to the West: The Monkey King Subdues White Skeleton Demon”, and “The Journey to the West: Woman Land of Western Liang” – and discussed the difference between the text and the film adapted from the text with emphasis on the following: comparison of plots, difference in character design, theme and ideology.After carefully reviewing the plot additions and deletions of films, the author compared the original work and film plot in an attempt to find out how the original work was restructured and how the films were adapted from the original work. Next, the “classical model” of film narrative model was employed to analyze film plot so as to find out the reasons behind the plot additions and deletions. Moreover, the author examined the difference in character setting and then analyzed the changes andadjustments of film roles from two aspects, namely, role modeling, character addition and deletion. As the author can see, the changes and adjustments of film characters are very important for the development of plot.The author employed Joseph Campbell’s Hero Theory (Hero’s Journey) to analyze the growth process of Sun Wukong and Tang Sanzang (a Buddhism monk and pilgrim who is the central character in the 16th century novel “The Journey to the West”) and then discussed how the film characters overcame difficulties when they were faced with disasters and challenges, in particular Sun Wukong’s self-conflict, the conflicts of standpoints between Sun Wukong and Tang Sanzang, and Tang Sanzang’s self-conflict between his belief and emotions. As conflict ended, the characters improved themselves and eventually completed the journey to the West. Lastly, the author examined the theme and ideology of films, and then discussed how the director selected materials and how he interpreted “The Journey to the West” so as to find out how the director added and deleted plots, arranged and restructured new elements of the plot, and thus found the director’s ideological connotation for each film as well as his caring the real life.Director Zheang Baorui interpreted the film series using contemporary skills. Special effects were employed to create fierce battles for “The Journey to the West: Sun Wukong (aka the Monkey King) Wreaks Havoc in Heaven.” The roles in “The Journey to the West: The Monkey King Subdues White Skeleton Demon” were reshaped to create innumerable twists and turns for the plot. Viewers totally changed their impression of monks after they watched “The Journey to the West: Woman Land of Western Liang.”Tang Sanzang found a brand new meaning of life and thus strengthened his resolve to continue his journey to the West after he subdued his worldly passions.西遊記鄭保瑞電影經典重述英雄理論The Journey to the WestZheng BaoruiMovieClassic RetellingHero’s Journeyetd