| 摘要: | 墨西哥作家蘿拉．艾斯奇維於一九八九年發表的第一本小說《巧克力情人》，於一九九二年由導演阿爾豐索．亞拉烏翻拍為電影，小說及電影皆獲得廣大迴響。改編電影《巧克力情人》的情節大致上皆忠於原著小說，然而不同媒介的轉換必定存在著差異性，於此，本論文以該部文學電影為主要的文本，分析影像將文字敘述呈現於畫面中的表現，並探討情節的主要議題，分析角色間之情感糾葛。
本論文第一章為緒論，說明研究動機與目的、研究方法以及文獻探討。第二章為精神分析理論概述，介紹心理學大師佛洛伊德的人格理論與拉康的鏡像階段之精神分析。第三章主要介紹原著作者蘿拉．艾斯奇維與導演阿爾豐索．亞拉烏的生平背景，並闡述小說及文學電影《巧克力情人》的情節內容與人物之比較分析，並針對文學電影《巧克力情人》影像表現之方式，分析改編過程以及電影媒介的藝術表現。第四章探討文學電影《巧克力情人》中角色的情愛糾葛，透過佛洛伊德與拉康的精神分析，探究角色之情感於欲望滿足與否的狀況中，所牽引出的情感面貌。首先是凝視為戀人愛戀的開端，也為母親嚴厲監控的所在；接著為戀人愛戀關係走向通姦之緣由與所造成的問題；最後探討壓抑的情感終使人瘋狂之情感表現。第五章為本論文之結論，總節所有章節的研究結果，提出改編電影與原著小說間之差異，並說明其文學電影之中心思想，人與人之間所產生的糾葛情感與衝突，乃是欲望滿足與否而致。
Como agua para chocolate (Like Water for Chocolate), the very well–known and the best–selling novel is written by a Mexican writer, Laura Esquivel in 1989. In 1992, Como agua para chocolate had been filmed by the Mexican director, Alfonso Arau, and it became the most successful film of the year. The episodes of this cinematography adaptation is basically remains faithful to the original novel, however, there are quite different from each other. In this thesis, I choose the cinematography adaptation Como agua para chocolate as my research topic. I will analyze the process of adaptation, and explore the main topic of the argument, which is the emotional imbroglio between the characters in Como agua para chocolate.
There are five chapters in the thesis. The first chapter is the introduction, which contains the motivation and the purpose of the study, the methods, and the literature review. In the second chapter, I will discuss the psychoanalytical theories, which are the mirror stage of Lacan and the theory of personality of Freud. The third chapter emphasizes the introduction of Esquivel’s and Arau’s life and their works, furthermore, putting emphasis on analyzing the film and the novel. In the forth chapter, I will analyze the emotional imbroglio shown in Como agua para chocolate. The last chapter is the conclusion, summarizing the essences of each chapter, and I will conclude the results of this research. |
