香港邵氏武俠電影始自1965 年，其後開展香港與臺灣兩地攝製武俠電影 之風氣；時至1976 年，楚原以古龍武俠小說改編拍攝之電影《流星．蝴 蝶．劍》，帶起近八年的古龍與金庸電影熱潮。雖然這位被視為創新武俠 小說書寫風格的作家古龍是臺灣人，但我國導演要在楚原作品之後的隔 年，才開始拍攝其武俠小說改編之電影，並深受其高度風格化的視覺呈現 所影響。本文將以1976 至1984 年間的三十部古龍小說改編之電影為研究 對象，透過對這些電影中的美術設計之分析，探究下列三個主要議題：第 一、楚原同時期的古龍與金庸電影美術設計有何異同？第二、同時期香港 與臺灣古龍電影中的美術設計是如何彼此影響，並探究造成差異背後的成 因與意義。第三、古龍小說文本與美術設計視覺再現之間的關聯。

The production of martial arts films had become a trend in both Hong Kong and Taiwan since 1965 when the Shaw Brothers Studio launched a new style in reforming the genre. In 1976, Hong Kong film director Chu Yuan’s Killer Clans led the second wave of martial arts films by adapting Gu Long’s and Jin Yong’s novels into screenplays. Gu Long is widely hailed as a unique and innovative Chinese martial arts writer whose works strongly inspired Chu Yuan. The artistic chemistry between them resulted in a series of movies with highly stylized visual representations which would later deeply influence some Taiwanese directors. This paper examines the production designs of thirty movies adapted from Gu Long’s martial arts novels from both Hong Kong and Taiwan during 1976 to 1984. This visual analysis brings up the following three topics. First, the similarities and differences of the production designs in Chu Yuan’s Gu Long and Jin Yong cinema of the same period. Second, the cultural differences and artistic influences in the production design of Gu Long cinema between Hong Kong and Taiwan. Third, the intricate relation of Gu Long’s writing styles and Chu Yuan’s visual representations in Gu Long cinema.