臺灣新電影在萌芽之時，小說成了現成的素材，提供新電影導演一個關懷社會、批判現實的視角，其中，鄉土文學作家黃春明的多篇小說尤其受到青睞。本文以黃春明的小說〈蘋果的滋味〉以及萬仁改編、執導的同名電影為例，透過比較敘事學的方法，重新詮釋兩部經典作品。首先，本文釐清小說跟電影的媒介差異性，認為萬仁在拍攝電影《蘋果的滋味》時，已經清楚意識到影像的獨特性，並為此進行創意的改編。其次，透過比較原著與改編電影相似但又相異的結尾，本文認為黃春明的〈蘋果的滋味〉具有解構主義者所說的自相矛盾、自我解構的特質：小說以蘋果「假假的」隱喻臺灣得到的美援，但故事中阿發一家的確藉此進入現代化的行列，反而傳達出當時臺灣人禍福相依、無可奈何的政治情境。

At the beginning of the New Taiwan Cinema, Taiwanese fiction served as raw material for the New Cinema directors, with its focus on social reality and critical perspective. As a prominent Nativist writer, Huang Chunming had several of his short stories adapted for the screen and was deeply involved with filmmaking at the time. This paper examines Huang's short story “The Taste of Apples” and its adaptation as a short film of the same title, arguing that while turning the story into a film, the director Wan Ren had well understood the media specificities of fiction and film and therefore produced an adapted film that was faithful to the original and artful in terms of visual presentation and film language. In addition, comparing the adapted film and the original text, this paper suggests Huang's “The Taste of Apples” be reread as self-deconstructed as the story labels the American financial support of Taiwan as false and dishonest at the same time that the protagonist's family was truly benefitting from the support, and thereby participating in the trajectory of modernity.