【摘要】 文学与电影的互文性不仅体现为文本与影像的简单转译，更是一次叙事、主题、符号与情感体验的重塑和再创造。蕾秋·乔伊斯的《一个人的朝圣》作为一部从小说到电影的改编作品，展现了跨媒介对话的丰富性。影视作品以其不同于文本的极具直觉与观赏性的镜头语言，从镜头叙事的视觉化呈现、镜头语言的隐喻象征以及表演情感中“无声的对白”三方面进行对小说的回应并再诠释原作。同时，伦理维度的加入丰富了影像与文本的价值建构。通过叙事策略与影像表达的调整，电影与小说达到同构与共生，形成互文性关系。改编电影在尊重文本与影像独立性之间寻求平衡，在拓展观众对文学改编的理解的同时，也为未来的跨媒介叙事研究提供了新的思考维度。更多还原

【Abstract】 The intertextuality between literature and film is not only reflected in the simple translation of text and images, but also in the reframing and recreation of narratives, themes, symbols, and emotional experiences. Rachel Joyce’s The Unlikely Pilgrimage of Harold Fry, as an adaptation from novel to film, showcases the richness of cross media dialogue. Film and television works, through their highly intuitive and ornamental camera language different from textual expression, reinterpret the original works from three aspects: visual storytelling of camera narratives, metaphorical symbolism of camera language, and the "silent dialogue" conveyed through performative emotions. Moreover, the incorporation of ethical dimensions enriches the value construction of images and texts. By adjusting narrative strategies and visual expression, films and their literary conterparts achieve a symbiotic relationship, fostering an intertextual dynamic. Adapted films seek a balance between honoring the autonomy of original text and embracing the expressive possibilities of visual storytelling. In doing so, they not only deepen audience’s engagement with literary adaptations but also provides new perspectives for future research on crossmedia narratives.更多还原