時興電影腳本，不少由奇幻文學作品改編而來，如眾所周知的《吸血鬼》和《科學怪人》等已被多位電影導演搬上大螢幕。其中大部份奇幻文學改編拍製的電影，僅傾向桃釁駭人的恐懼情緒，忽視虛實交錯，置人迷惑的奇幻特質，令人惋借。然而，墨西哥導演吉耶耳摩•德•拖羅不借由改編任何文學作品，卻能在其原創電影作品《羊男的迷宮》中，揉合奇幻文學中哥德式小說的超自然、神話和真實等元素，營建奇幻的視覺影像，以批判法西斯主義的無人性行爲，實屬難能可貴。《羊男的迷宮》除了引起恐懼效果外，隨著劇情發展，傳遞奇幻文學之模稜特質，德•拖羅依循奇幻文學之美學技巧，將之轉換爲具個人風格的視覺影像，由此，筆者誠然肯定其劇情鋪陳，將文學特性表現的淋漓盡致。不可諱言，對許多文評者而言，奇幻效果來自文學語言，如表達可能性、比較、誇張等句子和修辭，以刻劃駭人的景象和焦慮的情緒。但是，當視覺影像取代由文字所建構的心智影像時，德•拖羅如何呈現符合奇幻文學之美學的奇幻電影作品，令人想一窺究竟。承上所述，本論文將依托鐸洛夫在其《奇幻文學》所提出之理論，首先針對《羊男的迷宮》中具有奇幻文學特質的主題元素進行分析；之後，探討比較該片中文學和電影的奇幻美學。

Since 1950s, the fantastic literature has been one of the most inspirations for the film directors. A growing segment of the fantasy genre has taken the form of films, for example, Dracula and Frankenstein. However, most of the fantasy films which adapted from fantastic literature describe and provoke mainly the feeling of fear or horror. Mexican director, Guillermo del Toro is an exception: in his film El Laberinto del Fauno, he follows the aesthetic of the Fantasy and transforms it into the visual image of his personal style without adapting any literary works. His film presents not only the terrific effects, but also highlights the ambiguity, which is the essence of fantastic literature, to criticize the dehumanization of the fascism. Generally speaking, the Fantasy originates form the literary language, just like the uses of the sentences which present the probability, comparison, exaggeration and the figurative expression in order to indicate the frightening scene and the anguished feeling. However, the visual images substitute the mental images that are produced by the words, people are interested in knowing how Del Toro presents his fantastic history in accordance with the literary aesthetic of the Fantasy. In accordance to the above-stated statement, Introducción a la literature fantástica of Tzvtan Todorov will be included, this study aims first to analyze the fantastic themes of El Laberinto del Fauna that characterize the fantastic literature and second, to investigate the structure of the Fantasy in this film.