後現代藝術一直是處於挑戰傳統思維及理論意識的狀態。後現代藝術的出現並不只是純粹在文學界思考呈現， 而是一種文化改變的傾向。 醞釀著多元化的文化論述， 後現代藝術已成為資訊， 科學技術，以及大眾文化相擁之下的產物。 這篇論文主要是藉由查理考夫曼(Charlie Kaufman)的三個劇本， 其後現代敘述美學，以及他們在電影形態呈現下的相關情節，來分析社會現狀。 在第一章， 我假借考夫曼的第一篇劇本－<<變腦>>－來探索進入名演員， 約翰馬可維奇的世界。 我將會舉出在現代與後現代時期之下，大眾在電影娛樂下心態的轉變， 現實與螢幕的分界如何被打破， 以及擬像與超現實的浮出。 在第二章中， 我將檢視考夫曼的第二篇劇本－<<蘭花賊>>，並探討它在後現代詞彙上， 敘述手法的連結－如自我反思性， 戲擬， 與編寫。 在此章的第二部分， 我會點出在這個劇本中，考夫曼如何在後現代社會上，藉由劇本論述，來逾越高層藝術及大眾藝術。我也將探討他在反射自我分裂人格的敘述。 在第三章當中， 我會將注意力集中在考夫曼在<<王牌冤家>>中， 顛覆的敘述手法。 考夫曼在編寫劇本中運用了許多新影像技術的剪輯手法－如蒙太奇， 時空間錯位， 以及拼湊。藉著創造出一個消除記憶的機器，他進而探討了一個可能會發生於社會中 “非人”的狀況。當我在論文架構的同時，許多後現代特有的論點如戲擬，拼湊，及自我反思性，也都會被不斷的明示及探討。

Postmodern artistic works have always challenged different conventional concepts and theoretical ideologies. The appearance of postmodern art is not merely an expression of literary thinking but a product of cultural change. Infiltrating diverse cultural “discourses,” postmodern art is the social production of the information explosion, technoscience, and mass culture. This thesis aims to utilize Charlie Kaufman’s three scripts and corresponding episodes in film form to analyze his postmodern cinematic aesthetics and certain social conditions. In Chapter One, I intend to use Kaufman’s first script, Being John Malkovich, to analyze his creation of a portal into the famous actor, John Malkovich’s consciousness. In addition, I will explore the different cinematic influences on people between modern and postmodern forms, the collapse of boundaries between reality and the silver screen, and the emergence of simulation and hyperreality. In Chapter Two, I shall examine Kaufman’s second script, Adaptation, and discuss its narrative strategies in terms of postmodern criteria--self-reflexivity, parody and adaptation. In the second part of Chapter Two, I will unveil how Kaufman transgresses the boundaries of high/mass art, and his postmodern, schizophrenic self-reflexivity. In Chapter Three, I shall focus on Kaufman’s subversive narratives in Eternal Sunshine of Spotless Mind. Kaufman edifies new thought for cinematic techniques such as montage, temporal/spacial-displacement, and pastiche to construct his plotlines. By creating a memory-erasing machine, he also probes into the potential of “inhuman” social conditions. Throughout this thesis, the repeated postmodern themes such as parody, pastiche and self-reflexivity will be investigated.

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