電影是時間和空間的藝術。電影發展之初，傾向於一個安靜旁觀的紀錄者，其表現空間是單純地再現真實場所。時移事往，隨著技術的高度發展，當代電影工作者對空間的體驗、構造和表現上，已愈來愈趙向多樣化、多元化。當代莎劇電影導演的一項重要任務是景觀的創作者，以他們獨特手法引領觀眾進入一個充滿符號和意義的概念性空間（conceptual space) ’ 一個組織嚴密、經過藝術處理的、一個有生命|與人物情感密切聯繫的空間，它不只描寫主角所處的外在特殊環境，更是人們内心狀態的外在表現，角色内心情緒反映投射於外在環境。
本文的目的是比較與分析電影導演是如何為莎劇中的著名獨白（如哈姆雷特的” to be or not to be” 、羅蜜歐與茱麗葉的樓台會、李爾王的暴風雨獨白場景等等）建構起一個意象式的概念性空間，此空間也許乍看相當寫實，但常是導演一針見血地曝陳主題的技法。透過匠心獨具的藝術化處理安排，這個概念性空間與其說是肖真的物質空間，不如說是角色内在波濤變幻的風景畫（inner landscape)>或是一個心智的隱喻性戰場(metaphorical battlefield):刻劃人物善與惡、理智與情感交戰的煎熬心理。

Film is an art form of time and space. In the initial stage, movies tended to be a silent, on-looking recorder that expressed space through direct representation of the realistic locus. As filming techniques evolve, moviemakers nowadays share unprecedented kaleidoscopic and diversifying spatial experience, composition，and expression. Few directors content themselves with merely representing the space of the realistic world. They now want to create a “conceptual space”，a deliberately organized, artistic space that is alive and closely knit with the characters’ feelings. It is an aesthetic space that depicts the certain environment the character is in, as well as expresses his inner state of mind.
The focus of this paper is to illustrate how leading Shakespearean film directors constitute a kind of conceptual setting for the famous Shakespearean soliloquies, in which the space itself, however realistic it may appear, is actually a sign that embodies the thematic idea or subtext of a particular soliloquy. This space is not so much a physical environment as an inner landscape or a mental arena where two split selves (mind and passion) constantly wrestle in Hamlet’s mind.