Comparing Hong Kong-produced films and their corresponding original works from the four aspects, i.e. characters, plot, background and main ideas, we can classify Hong Kong films since 1980 into literal adaptations, rewriting-based adaptations, concept-based adaptations and deconstruct-based adaptations. Abundant literary resources can provide rich themes and inspirations for film creations, resulting in a variety of films, such as Hong Kong martial arts films, costume films, literary films, ghost films and so on. In this visual era, to adapt literary into films is a manifestation that literature is moving from a marginalized medium to the center stage. At the same time, cinematic adaptations from literature are also an important way to improve the quality of screenwriting and the artistic expression of films. In the adaptation processes, deletions and revisions made by the producers and directors reflect the cultural and political changes of Hong Kong. In addition, such deletions and revisions demonstrate contemporary cultural thoughts such as nostalgic culture, identity recognition, historical memory, globalization, consumerism and so on. The types and themes of the literature which Hong Kong films adapted from literature are in quite a wide scope. They adapt from novels written by Eileen Chang, Li Bihua, Liu Yichang, Jin Yong and from Chinese classical novels which convey a unique modern experience. From this perspective, we can see that Hong Kong films are a synthesis of commercial and artistic, traditional and modernity, diaspora and nostalgia, cynicism and philosophy and so on. Finally, film adaptations help to build Hong Kong’s cultural identity

根據人物、情節、背景、主旨等敘事結構比較影片與原著的相似度，1980 年以來具有代表性的香港電影有直譯式改編、改寫式改編、意念式改編、解構 式改編四種類型。充足的文學資源為電影提供豐富的題材和創作靈感，由此開 拓香港各大類型電影。文學改編電影是視覺時代文學從邊緣走向中心的突圍， 也是電影提高編劇質量、提高自身藝術表現力的重要途徑。 在改編過程中，編導對原著的刪改折射了話語與意識形態的運作，顯影出 香港文化政治的變遷，是懷舊文化、身份認同、歷史記憶、全球化與消費主義 等當代文化思潮的表徵。香港電影從對張愛玲小說的直譯式改編，對李碧華小 說的改寫，引用劉以鬯、金庸等小說的意念對都市寓言的重述，以及對中國古 典小說的顛覆和解構，表現出獨特的都市現代性體驗。香港電影將商業性與藝 術性，傳統與現代，去國與懷鄉，犬儒與哲學融於一身，最終確立了文化身份 的主體性。