本文的主旨在於藉由空間的概念，探討並比較柴菲萊利一九六八年的《殉情記》與魯曼一九九六年的《羅密歐＋朱麗葉》兩部莎士比亞影片的結構歷程與相關主題。兩部影片在營造羅密歐與朱麗葉的感情世界時，手法容或不同，基本上都突顯出公共空間╱私人空間、世俗空間╱想像空間的對立，而在去神聖化與同質化社會空間強勢宰制之下，羅、朱兩人所能共同擁有的差異空間終究只能以墳墓為其歸宿。本文的論述主要經由馬庫修的麻后說與羅密歐求愛如朝聖的譬喻兩點切入，解析《殉情記》裡想像空間與幾何構圖的相關意涵，以及《羅密歐＋朱麗葉》片中的（後）現代形象，特別是與水、十字架關聯的意象，以及部分對於當代影視媒體的批判。

This paper examines and compares the presentations of the spatial structuration and related issues in two Shakespearean films, Franco Zeffirelli’s Romeo and Juliet (1968) and Baz Luhrmann’s Romeo + Juliet (1996). Though differing in their styles of constituting the world of Romeo and Juliet, both cinemas nevertheless similarly draw our attention to the contrast of public/private, profane/sacred spaces. Under the domination of a desanctified and homogeneous social space, the heterotopia of Romeo and Juliet can find no exit but entombment. The main body of this paper is divided into two parts. First, the examination of Zeffirelli’s Romeo and Juliet begins with an analysis of Romeo’s metaphor of love as a pilgrimage and Mercutio’s harangue about Queen Mab, and then proceeds to scrutinize the imaginary space and Euclidean space shown in the cinema. Second, the argument on Baz Luhrmann’s Romeo + Juliet focuses on its (post)modern images, especially the water and cross imagery and images related to Luhrmann’s critique of his contemporary media of cinema/ television.