黄哲伦的戏剧《蝴蝶君》对普契尼《蝴蝶夫人》中的人物关系与情节设定进行了巧妙的倒置,颠覆了以往西方文学中西方中心论“西强东弱”的思维定势。1993年大卫·柯南伯格将《蝴蝶君》翻拍为同名电影,然而电影并没有如原著戏剧般对西方中心论予以解构与颠覆,而是落入了好莱坞电影文化霸权思维的窠臼。本文以葛兰西的文化霸权理论及萨义德的东方主义理论为理论依据,解读电影《蝴蝶君》中的文化霸权元素。 Huang Zhe-lun’s drama The Butterfly Queen subtly inverstimated the relationship and plotting of the characters in Puccini’s Madame Butterfly, subverting the stereotyped thinking of western center theory . In 1993, David Korenberg remade Butterfly Kingdom as the movie of the same name. However, the film did not deconstruct and subvert the Western centralism as the original drama, but fell into the trap of thinking of the cultural hegemony of Hollywood films. Based on Gramsci ’s theory of cultural hegemony and Said’ s Orientalism theory, this article interprets the elements of cultural hegemony in the film Butterfly Kingdom.