| Summary: | 碩士 === 東吳大學 === 中國文學系 === 103 === In the beginning of the thesis, the history of the adaptation of the films "Hua Pi" and "Nie
Xiao Chian" is mentioned. It summarizes the deletion and shortages analysis from the old
movies the narrative point of view and the interpretation of thinking from the new version
of the film adaptation, to emphasize on the differences between the old and the new films.
Secondly, it expounds the connection between the novel and the film to explore the way
how the words expressions are presented by the photographic techniques, and the
interpretative scope of new era inserted by the director. At last, it summarizes the
acceptance of the audience's emotions psychologically and analyzes the change of new
version film adaptation, and the spiritual connotation of the monster which tries to be a real
human as well as the tragic ending.
Because of the original story was adapted onto the screen for the only purpose in the old
films, and got restrictions from the old technology in another reason, it failed to produce
the classic literature in visual sense. As the new technology revolution came up, and the
theory of film is getting better, successful media inspiration for the future creative works is
provided, the new works can use the best elements, such as composition, color, edition,
and music to expand and explain the narrative of novel, complete the visual function of the
films and it shows creative works that combine shooting techniques and film theory.
The film versions stand as a the modern point of view which gives the audience new
chance to re-read the classic literature works. The new version documents from "Hua Pi"
and "Nie Xiao Chian" do not only narrate the original story as the old ones did, but they
also place some relevant issues of modern thinking and present the New Vision through the
change of the monster (ghost) which tries to be a real human and ultimately ends in regrets.
There are ten film documents from "Hua Pi" and "Nie Xiao Chian" in total. Researches on
"Painted Skin" (2008), "Painted SkinⅡ: The Resurrection" (2012) and "A Chinese Ghost
Story" (2011) have been conducted in the thesis and summarize in the role-rebuild and
modern narrative in the conclusions at the end. In the thesis, I would like to figure out the
literature work and the aspects of the film adaptation from "Liaozhai Zhiyi".
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