1960年代正值台語電影消費的高峰期，但在大量拍攝、消耗題材的情況下，台語電影也必須面臨題材耗盡的問題。因此，1965年由導演辛奇所執導出的《地獄新娘》對當時台語電影來說是一項新奇的嘗試。《地獄新娘》是從1960年出版的著名懸疑羅曼小說《米蘭夫人》（Mistress of Mellyn）改編而來，《地獄新娘》電影中的敘事手法沿用了歌德羅曼小說的懸疑解謎與愛情糾葛敘事手法，但也透過改編重新打造屬於台灣自身的歌德敘事。在變與不變中，《地獄新娘》如何以電影語言呈現《米蘭夫人》的歌德氛圍？而歌德敘事當中幾個重要的元素，諸如：恐怖（horrors）、逾越（transgression）、詭異（uncanny），又以何種樣貌在電影中呈現？從夫人到新娘，小說和電影都將焦點放在女性身上，女性的位置也一直是歌德敘事中的關鍵所在，透過辛奇的改編，我們可以見到《地獄新娘》中女性共同解開謎題、甚至是相互解救的過程，與原著《米蘭夫人》有微妙的差別。本論文將從台語電影、歌德敘事兩方面入手，觀察《地獄新娘》中的歌德類型及女性主體，以及從西方《米蘭夫人》到台灣《地獄新娘》，歌德要素有哪些挪移及改變。

Bride From Hell, a Taiwanese adaptation of the English romance novel, Mystress of Mellyn and directed by Xin-qi in 1965, was a new and creative attempt in the golden age of Taiwan cienma. The novel is a Gothic romance full of suspense, mystery and romantic entanglement. This article intends to answer the question: to what extent and by what means does the film follow the western Gothic conventions while re-inventing an indigenous and hybrid Taiwanese Gothic genre? In the cultural translation of the Gothic romance, how are the Gothic elements such as horror, transgression, the uncanny and the double represented in the film? Both the novel and the film focus on the heroine, who goes through risky adventures, solves riddles, and eventually is rewarded with romantic love and motherhood. The film transforms the antique English atmosphere into trendy contemporary Taiwan. The mistress who has transgressive and erotic behavior in the novel is changed in the film to be a virtuous wife. By emphasizing on the confirmation of family bonds and moral lessons, the Taiwanese film adaptation has creates a mixture of the Gothic genre and family melodrama.