本論文以藏族作家兼導演萬瑪才旦（1969-2023）為研究對象，旨在探討其漢語小說與電影之間的跨媒介敘事關係。萬瑪才旦在文學與影像的雙重創作中，並非單純進行文本改編，而是透過文化轉碼，建構出具備現代性反思的藏族文化主體性。論文以文本分析與比較方法分為兩個層次，首先是「自我互文」的分析，《靜靜的嘛呢石》探討媒介轉換中，宗教的內隱與外顯；《塔洛》則揭示在制度空間中，身分認同的崩解；《氣球》中的女性，則在宗教、家庭與政治三重規訓中覺醒，且萬瑪才旦在前期利用影像呈現藏地的物質現實，而以文字保存其精神真實，直至後期電影則漸漸加入如小說般魔幻的風格。其次是「多元對話」，《尋找智美更登》以後設敘事解構傳統藏戲的道德框架，並轉向對世俗情感的關注；《撞死了一隻羊》引入具文化依據的夢境，作為復仇困局的解脫出口；《雪豹》則將靈性寓言作為政治生態的協商，以神聖的顯現作為解決方法，以上都是萬瑪才旦將他人小說結合自身小說後，藉以呈現的「跨界」觀點。整體而言，萬瑪才旦小說與電影的互文指涉，超越了外界對藏族的奇觀化凝視，為藏族文化開拓兼具審美自覺與社會批判的主體性。;This thesis examines the Tibetan writer and filmmaker Pema Tseden (1969–2023), focusing on the cross-media narrative relationship between his Chinese-language novels and films. Rather than treating adaptation as simple translation, Pema Tseden practices cultural transcoding, constructing a reflective Tibetan cultural subjectivity through the interplay of literature and cinema. Employing textual analysis and comparative methods, the study proceeds on two levels. The first, self-intertextuality, analyzes The Silent Holy Stones to explore shifts in the implicit and explicit representation of religion across media; Tharlo to reveal identity disintegration within institutional structures; and Balloon to examine female awakening under the intersecting disciplines of religion, family, and politics. While Pema Tseden’s early works privilege visual realism and textual spirituality, his later films increasingly adopt the magical and allegorical qualities characteristic of his fiction. The second level, diverse dialogues, investigates how The Search employs meta-narrative strategies to dismantle the moral authority of traditional Tibetan opera in favor of secular affect; how Jinpa introduces culturally grounded dreams to break the impasse of revenge; and how Snow Leopard reframes spiritual fable as a negotiation of political ecology, mobilizing the sacred as a form of resolution. These works demonstrate Pema Tseden’s cross-boundary vision through dialogue with both his own texts and those of others. Through sustained intertextuality between novels and films, Pema Tseden moves beyond the exoticizing gaze imposed on Tibet, articulating a cultural pathway marked by aesthetic self-awareness and critical engagement with modern social realities.
