本論文藉由三個不同的議題來比較三部具有媒材差異性與時間差異性的安娜故事，藉以觀察安娜故事在不同時空情境所產生的變化。安娜故事的變化彈性讓讀者／觀眾不能僅就一個文本推論所有文本，所以對安娜故事的全然排拒或全盤接受均屬謬誤，未來更需要在跨文化研究的基礎上重新定位此一系列的故事並探討不斷重述改編所透露出來的訊息。本研究當中安娜故事的選取考量到時空變遷、媒材差異、與英美文化異質等因素，因此挑選了一八七○年李奧諾文斯所撰的旅行書寫《暹羅宮廷的英國家庭女教師》、一九五六年音樂劇電影的經典《國王與我》以及一九九九年頗具後現代色彩的劇情片《安娜與國王》。文本比較的面向涵蓋下面三項：文本與社會脈絡、觀視(gaze)的媒材差異與性別差異、以及東方主義的他者再現。論文借用卡塞蒂(Francesco Casetti)所提出的「溝通情境」檢視三部作品的文本與社會脈絡的關係，藉由若斯特所提出的「視覺焦點」探索觀視的性別差異與媒材差異，以薩依德的東方主義與巴峇的刻板印象審視三部作品的東方主義再現。

This essay aims to analyze three Anna's stories which are different in terms of media and time and thereby to demonstrate their drastic changes with the pass of time. The multifarious, shifting facets of Anna's stories preclude their readers and audience from generalizing them. It is a great fallacy to reject or approve an unfamiliar Anna's story without really reading or watching it. This series of stories, more complex than people assume, deserve to be re-evaluated in the near future, and their incessant retellings symptomize Westerners' changing interpretations of cross-cultural relationships. Considering spacio-temporal diversities, media varieties, and different implied readers/audience, three texts are chosen for discussion: Anna Leonowens's The English Governess at the Siamese Court (1870), the American musical film The King and I (1956), and the drama film Anna and the King (1999). In order to analyze these three texts, three issues are raised: first, how a text is related to its socio-historical context; second, how the factors of genders and of media influence the narrators' “gaze”; third, whether the authors reproduce Orientalist representations of the Other. To construct theoretical framework to examine these three issues, Francesco Casetti's theorization of communicative situation, François Jost's concept of ocularization, and Edward Said's notion of Orientalism (as well as Homi Bhabha's idea of stereotype) are discussed and appropriated in the three sections, which constitute the body of this essay.