翻譯研究日趨多元，許多研究指出翻譯存在著多種形式，本論文提出「跨領域翻譯」（interdisciplinary translation）和「跨媒介翻譯」（intermedium translation）二詞，藉由分析電影文本如何轉譯精神分析概念，探討這兩類翻譯。本論文以佛洛伊德（Sigmund Freud）的著作《夢的解析》（The Interpretation of Dreams）理論為本，舉兩部當代電影為例：大衛林區（David Lynch）執導的《穆荷蘭大道》（Mulholland Drive）與克里斯多福諾蘭（Christopher Nolan）執導的《全面啟動》（Inception），探討當代電影文本如何翻譯精神分析的夢境理論。

論文分為五章。第一章訂定研究架構，藉由探討翻譯、精神分析和電影的關聯，指出精神分析是一種翻譯形式，電影又可作一種翻譯媒介。精神分析和翻譯的過程十分相似，精神分析師試圖翻譯人的潛意識與夢境，如同譯者試圖將原文翻譯成譯文。翻譯的過程中，譯者必須先了解原文的語言和意義，再用讀者能夠理解的語言表達。以精神分析師解析病人的夢為例，精神分析師常以口語或書面文字來詮釋夢境；而文獻指出，電影可模擬大腦的運作情形，因此我認為電影是更適合翻譯夢境的媒介。第二章回顧精神分析與電影在歷史上的互動。精神分析師受到電影技術的啟發，進而深入研究某些精神分析概念，如分身（double）。同時，電影領域也受惠於精神分析，借入精神分析理論並形成精神分析電影理論（psychoanalytic film theory）；此外，許多電影導演試圖利用電影描繪精神分析的過程及相關概念。第三章介紹夢的理論及分析林區在《穆荷蘭大道》中轉譯夢境理論的方法。佛洛伊德認為夢是由隱夢（latent dream-thought）和顯夢（manifest dream-content）所組成，隱夢通過夢的工作（the dream-work）轉換成顯夢，而夢的工作主要包括四種：凝縮（condensation）、置換（displacement）、具象化（representation）及潤飾（secondary revision）。林區在《穆荷蘭大道》中呈現女主角的夢境和現實生活，藉由比較夢境和現實生活中出現的元素，即可看出林區翻譯夢的工作的手法，我發現林區的作法遵循佛洛伊德的夢境理論。第四章分析諾蘭在《全面啟動》中翻譯夢境理論的方式，及其深入探索其他夢境概念的呈現方式。諾蘭同樣參照佛洛伊德的夢境理論，但他在電影中呈現更多自身對夢創新的詮釋，如在夢中夢裡，夢與夢互相影響，以及諾蘭運用電影技巧（如剪接）來模擬夢的運作。

根據分析結果，我認為這兩部電影皆為跨領域翻譯和跨媒介翻譯的絕佳範例。跨領域翻譯將某一領域的內容或概念轉換成另一領域的內容或概念，本論文即研究精神分析領域概念轉換至電影領域概念的翻譯過程；跨媒介翻譯則將某一媒介呈現的內容，改用另一種媒介呈現，本論文即研究呈現夢境的語言轉換至電影語言的翻譯過程。本論文期望藉由探討電影翻譯夢境，擴大「翻譯」的定義，並且豐富翻譯研究領域。

With further development in the field of translation, recent studies have discovered that the act of translation appears in various forms. In this thesis, I propose the ideas of “interdisciplinary translation” and “intermedium translation” and discuss these two types of translation by examining how film texts translate psychoanalytic concepts. Based on my research on Sigmund Freud’s dream theory in The Interpretation of Dreams and examining two contemporary films—David Lynch’s Mulholland Drive and Christopher Nolan’s Inception, this thesis aims to study the process of translating dream concepts from psychoanalysis into cinema.

This thesis is divided into five chapters. Chapter One sets up the framework of this thesis by discussing the relationship between translation, psychoanalysis and cinema. I point out that psychoanalysis is a form of translation process and cinema is a medium for translation. The process of psychoanalysis is similar to that of translation: just as translators aim to translate the source text into the target text, psychoanalysts attempt to translate one’s unconscious and dreams into a narrative. During the translation process, translators must first understand the language and meaning of the source text, and then re-express the source text using a language that is comprehensible to their readers. Psychoanalysts often use spoken or written words to express their interpretation of dreams while cinema can imitate the workings of the mind. Thus, I propose that cinema should be considered as a more appropriate form of media for translating psychoanalytic concepts, such as dreams.

Chapter Two reviews the interplay of psychoanalysis and cinema in history. Inspired by the techniques of cinema, some psychoanalysts further explore certain psychoanalytic concepts, such as the double. Meanwhile, cinema is also indebted to psychoanalysis. For example, some theorists examine how psychoanalytic thoughts are incorporated into cinematic studies, forming a new field of study known as psychoanalytic film theory. In addition, many film directors are interested in incorporating psychoanalytic concepts and portraying psychoanalytic treatment process in their works.

Chapter Three introduces Freudian dream theory and analyzes the ways Lynch translated dream theory in Mulholland Drive. Freud conceived that dreams consist of latent dream-thoughts and manifest dream-content; the former is transformed into the latter through “dream-work,” which includes condensation, displacement, representation and secondary revision. In Mulholland Drive, Lynch created the protagonist’s dream and her waking life. His translation of the protagonist’s waking life into dreams can be understood through a comparison of the elements that appear in both the dream and the waking life. I observe that Lynch’s translation of dream-work complies with Freudian dream theory.

Chapter Four analyzes the ways Nolan translated Freud’s dream theory in Inception as well as his exploration of innovative dream concepts, such as the influence between different dream layers in dreams-within-dreams. I also analyze Nolan’s cinematic techniques, such as the use of a simple cut to imitate the entry and exit of a dream. Based on these analyses, I conclude that Mulholland Drive and Inception are good examples of interdisciplinary translation and intermedium translation.

“Interdisciplinary translation” refers to the translation from discipline A to discipline B; and “intermedium translation” refers to the translation from medium A into medium B. Investigating the translation of dreams from psychoanalysis to cinema, this thesis expands the scope of “translation” by shedding light on both interdisciplinary and intermedium translations.

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