八零年代中期香港導演徐克監製的電影《倩女幽魂》，無論票房與評價均深受肯定，甚而引領當時香港的古典靈異片風潮，其原著乃是依據清代文人蒲松齡《聊齋誌異》中的〈聶小倩〉。本文將討論蒲松齡原著與徐克改編電影中的差異，包括兩人對於「他者」角色的想像與形塑，蒲松齡對儒釋道思想的承繼，徐克對於中國傳統儒釋道思想的後現代詮釋，以及兩人對於「人間」與「他界」的建構與背後的深意，從而分析徐克以電影《倩女幽魂》為載體，表述八零年代的香港面對九七回歸所呈現的焦慮不安，國族身分的認同曖昧，電影人鬼妖共處的異域空間中所隱含的香港邊緣意識。 With regard to the movie “The Ghost of the Pretty Woman” directed and produced by the Hong Kong movie director, Hsu Ko, in the mid 1980’s, the movie was quite successful in the box offices and was highly acclaimed. The movie led a wave of the making of classic ghost movies. The character of the pretty woman in the movie was based on the character, Chiao-Chien Nieh, in the book, Liau Chai Chi Yi (“a collection of unusual and strange stories”) written by Sung-Lin Pu of the Ching Dynasty. In this article, we talk about the differences between the movie and the original book: including how “otherness” was described in the movie and the original book, Pu’s inheritance of the traditional thinking of the Confucianism, Buddhism and Taoism, Hsu Ko’s post-modern interpretation of the traditional Chinese thinking and the two persons’ views regarding “human world” and “other world” and the profound meanings thereof. We also talk about that the movie also expresses people’s worries and uneasiness towards the return of Hong Kong to China in 1997 during the 1980’s, the ambiguity of the people living in Hong Kong in terms of national identification and a feeling of being marginalized of the people living in Hong Kong implied by a strange space with the presence of humans and ghosts in the movie.
