小说与电影历来有着密不可分的联系,在现今的社会状况下,改编电影不仅推动了影视产业的前进,也使得被日益边缘化的文学作品重新进入人们的视野。从第三代电影人主张的“电影是文学”开始,电影就开始在更大程度上依赖文学而存在,对原作的忠实改编成为电影创作的主流形式。但从以张艺谋为代表人物的第五代电影人开始,这种情况发生了改变,在创作出优秀艺术作品的同时,也出现了被改得面目全非的作品,可是这些作品是否成功取决于多方面的原因。本文以《陆犯焉识》的电影改编为例,探究小说向电影转化的困境,并对在此过程中产生重要影响的社会因素加以分析。 Novels and movies have always been inextricably linked. Under the current social conditions, film adaptation has not only promoted the progress of film and television industry, but also made the increasingly marginalized literary works re-enter the people’s field of vision. From the third generation of film advocates “movie is literature ” began, the film began to rely on literature to exist to a greater extent, the faithful adaptation of the original become the mainstream form of film creation. However, beginning with the fifth generation of filmmakers represented by Zhang Yimou, this situation has changed. While creating outstanding works of art, there have also been works that have been totally changed. However, the success of these works depends on many aspects s reason. This paper takes the film adaptation of “Lu Zu Yan Yan Zhi” as an example to explore the predicament of the novel to film transformation and to analyze the social factors that have an important influence in the process.