研究發現，在《烏鴉燒》中，電影將原著寓言式的荒謬與疏離感轉化為具體的人際與心理衝突，並透過「烏鴉」等符號的再意義化，呈現現代都市中邊緣個體的生存焦慮，以及客家族群在都會中面臨「隱形化」的處境。而在《大崎下》中，改編影像打破了原著單一的全知視角，轉而以多重敘事主體重構身心障礙者與弱勢女性等邊緣人物的生命經驗，並透過「三稜鏡」、「水」與「道具鬍子」等意象，深化了客庄人情網絡與地方信仰的文化厚度。此外，本研究亦將視角延伸至客家電視台的產製脈絡，指出這些影像文本的生成，實為公共媒體制度、市場需求與創作者美學相互協商的結果。總結而言，兩部作品透過跨媒介的改寫實踐，成功拓寬了當代客家文化再現的可能性，為理解地方經驗與邊緣主體提供了多層次的詮釋空間。;This study utilizes intertextuality theory as its core framework to explore the adaptation relationship and cross-textual dialogue between the Hakka TV films Burning Crows and Never Disappear and their original literary texts. Under the challenges of dominant languages and mainstream cultures， the literary adaptation of Hakka visual media is not merely a transformation of form， but a reconstruction of ethnic memory， cultural identity， and marginalized subjectivity. Supplemented by film narratology， semiotics， and Jacques Lacan’s psychoanalytic theory， this research conducts an in-depth analysis of the two works concerning narrative structure， character reconstruction， symbolic codes， and Hakka village imagery. The findings reveal that in Burning Crows， the film transforms the original text’s allegorical absurdity and alienation into concrete interpersonal and psychological conflicts. Through the re-signification of symbols such as the "crow，" it illustrates the existential anxiety of marginalized individuals in modern cities and the "invisibility" dilemma faced by the Hakka community in urban settings. In Never Disappear， the film adaptation breaks away from the original text′s single omniscient perspective， employing multiple narrative subjects to reconstruct the life experiences of marginalized figures， including individuals with disabilities and disadvantaged women. It deepens the cultural richness of Hakka village networks and local beliefs through images like the "prism，" "water，" and "prop beard." Furthermore， the study extends its scope to the production context of Hakka TV， indicating that the generation of these visual texts is the result of negotiation among public media institutions， market demands， and creators′ aesthetics. In conclusion， through cross-media rewriting practices， both works successfully broaden the possibilities of contemporary Hakka cultural representation， providing a multi-layered interpretive space for understanding local experiences and marginalized subjects.
