嚴歌苓的創作長期關注女性主體性的問題，描繪女性經驗、身體與慾望等女性書寫，同時她的身分，以一位華裔移民女性身在美國，早期觀察華人移民經驗，近期則回溯大陸原鄉故土的成長經驗及文革經歷，而其大部分的作品則是台灣文學獎的常勝軍，並在台灣出版獲得文壇聲譽。這樣一位移民的跨界／跨國女作家，在面對異國文化下，如何回視或詮釋移民、性別與原鄉敘事，如何展演女性身體與國族議題之發酵，乃是本文所欲探討的主題。而其諸多作品在千禧年之後，雖仍大多在台灣出版，但其題材引發大陸的改編熱潮，成為影視作品改編之寵兒。本文試圖以《天浴》、《金陵十三釵》嚴歌苓小說改編電影為例，探索從文字書寫到影像傳播，其文本之核心議題如：女性視角，文革下的女性經驗，戰爭中的女體與國族，在文學與影像之間的互文有何不同的詮釋與改編，以及其對於女體與國體的省思，大眾影像之傳播效應。

Yan Geling's works have focused on female subjectivity for a long time now. She depicts women's experiences, bodies, and desires in an écriture féminine. At the same time she writes as a Chinese immigrant woman in the United States, writing early on about the Chinese immigrant experience, which lately she traces back to her formative experiences in her homeland in China and her experience of the cultural revolution. Mostly, though, her works have received recognition in Taiwan, often winning prizes. The concern of the present article is how an immigrant woman writer crossing boundaries national or otherwise views or interprets immigration, gender and homeland narration while facing a foreign culture, and how she dramatizes women's bodies and nation. Concerning Yan's works published since the millennium, although most were published in Taiwan, they have set off a wave of adaptations, especially audiovisual, in the mainland. This article takes The Sent Down Girl (English translation of a Chinese language movie) and Zhang Yimou's The Flowers of War as examples of film adaptations of Yan's works to investigate the process of adaptation from text to image. The core issues are as follows: women's perspectives, female experience of the cultural revolution, women's bodies and nation in war, different interpretations and adaptations in the intertext between literature and film, and reflection on the female body and the nationality as well as the impact of the dissemination of images relating thereto in the mass media, in the form of popular film.