摘要：90年代以来，严歌苓的小说被屡次改编成为影视剧作，改编作品主要包括了电影《少女小渔》、《白太阳》、《天浴》和电视剧《一个女人的史诗》、《幸福来敲门》、《小姨多鹤》和《铁梨花》。另外，2011年张艺某导演正在拍摄的电影《金陵十三钗》也是根据严歌苓小说改编。影视剧与原著的关系是“创造性的背离”还是“消解性的背离”，可看作是类型化和反类型化相互博弈的结果。其类型化过程，于电影主要是爱情唯美化、女性视觉化和伦理时代化，于电视则主要是受到家族剧以及家庭伦理剧观念和范式的规制；其反类型化过程，于电影主要是靠边缘性的取材，于电视则是对既有类型的变奏和交叉。

关键词：严歌苓 影视改编 类型 反类型

Abstract：Since the 1990s, novels of Yan Geling have always been adapted into films and TV drama programs. The films include Siao Yu，the White Sun，and the Sent-down Girl, while the TV drama programs include An Epic of a Woman, Aunt Dou Ho, Come the Felicity of the Door and Tie Lihua. Also, the film adaptation of Jinling 13 Chai is being shot by the famous director Zhang Yimou. Whether deviation from the literature works is a contributive one or a destructive one, is determined by the competition of being genres or being anti-genres. On the one hand, to be genres, the films beautify the love stories, visualize the female bodies, and make the ethic issues match up to the ages, while the TV drama programs are restricted under the concept and normal formulas of Saga TV plays and family moral plays. On the other hand, to be anti-genres, the films take marginal situations in crevice as their materials, while the TV drama programs turn out to be variation and mixtures of the existing genres. 

Key Words: Yan Geling; Film Adaptation; Genre；Anti-Genre