研究目的：本研究旨在通过格雷马斯符号学及荣格集体无意识理论分析现象级文艺电影《隐入尘烟》, 从而获得电影的深层叙事逻辑, 并以此发掘出文本信息与社会之间的关系。 研究方法：本文研究方法为文本分析法, 主要以格雷马斯符号学中的行动者模型、符号学矩阵结合集体无意识理论分析电影文本对象。 研究内容：通过格雷马斯表层叙事分析, 得到主体马有铁与客体泥土建造的家, 以及辅助者曹贵英和驴等与敌对者社会城镇化建设之间的表层叙事关系。并以此代入符号学矩阵中分析得出叙事中的三组对立矛盾和蕴含关系, 分别是分别是S1是以马有铁为代表的旧观念的坚守者, S2是人与土地的新观念的对立, S1旧观念的坚守者与~S1人与土地的旧观念, 以及S2人与土地的新观念等等与~S2旧观念的认同者和接收者的矛盾关系, S2人与土地的新观念等等与~S1人与土地的旧观念以及S1旧观念的坚守者与~S2旧观念的认同者和接收者的蕴含关系。 结论及提议：电影在文艺的类型下构建了一个新旧两种对待土地的两类人群的关系, 电影叙事中深层冲突矛盾的根源是由于当下新旧两种观念不相适应而造成的。并通过电影观众评论的数据分析确定观众最关注的议题之一为人与乡土的亲密关系, 通过集体无意识理论中的大母神原型验证了多数观众天性上对土地能能自发产生依赖及好感。由此, 研究学者提出集体无意识可以在电影传播中间接影响受众的关注点与接受程度。

The aim of this study is to analyse the phenomenal literary film Return to Dust through Greimas semiotics and Jung’s theory of collective unconsciousness, in order to obtain a deeper narrative logic of the film and to uncover the relationship between the textual message and society. The research method of this paper is textual analysis, mainly using the actantial model and semiotic square of Greimas’ semiotics combined with the theory of collective unconsciousness to analyse the textual object of the film. The research is based on the analysis of the surface narrative of Greimas, and the surface narrative relationship between SubjectMa Youtie and Object’s clay home, and HelperCao Guiying and the donkey, and the construction of Opponent’s social township. This is used to analyse the three sets of contradictory and implicit relationships in the narrative, which are S1 as the adherent of the old idea represented by Ma Youtie, S2 as the opposition of the new idea of man and land, the adherent of the old idea of S1 with the old idea of ~S1 man and land, and the new idea of S2 man and land, etc. with the old idea of ~S2, respectively. The contradictory relationship between the adherents of S1’s old ideas and ~S1’s old ideas of man and land, and between the adherents of S1’s new ideas of man and land, etc. and the adherents of ~S2’s old ideas, etc. and the adherents and recipients of ~S2’s old ideas. This paper thus concludes by suggesting that the film constructs a relationship between the two types of people who treat the land, the old and the new, under the genre of literature, and that the deep conflict and contradiction in the narrative is caused by the incompatibility between the old and the new ideas in the present. Through the analysis of the film audience’s comments, the audience’s most important concern is the intimate relationship between human beings and the countryside. As a result, the researcher suggests that Collective unconsciousness can indirectly influence the audience’s attention and acceptance in film communication.