〈橘子紅了〉小說改寫與影劇改編的歷程十分繁複且富時代意義，本文追蹤原始資料試圖釐析脈絡。琦君以散文見長，風格溫婉敦厚，但複雜的家庭背景無法在散文中吐實，僅能依靠小說虛構的帷幕，探勘不可言說的真實經驗，〈橘子紅了〉小說原取材自真人實事，透露琦君的家庭經歷和身世之謎，前此如〈阿玉〉、〈梨兒〉和譯作〈柿子紅了〉都為題材相近的文本，作者在反覆書寫的過程中進行自我治療和救贖。真實與虛構間曖昧含混的地帶，讓影劇改編者的想像力得有充分施展的空間，衍生出不同情節結局的新文本。同輩作家朱白水改編的廣播劇大體遵循原著情節而更見大膽；後輩吳孟樵電影劇本以後設手法對照今昔並反思兩性處境，融入琦君真實經驗且探索內在世界；大陸第五代導演李少紅的電視劇，將原著情節曲折化、人物複雜化、空間抽象化、意象擴大化，且強化命定觀，既批判卻仍受制於封建社會及父權觀念的不徹底態度，在中國大陸引起極大爭議，本文認為若琦君繼承的是五四文學中溫柔婉約的一脈，改編的電視劇便是與五四激進一脈進行對話與反思。原作者個人的創傷經驗，被處於不同社會文化背景的後代女性創作者重新詮釋，進而撩動了民族集體記憶，成為檢驗社會意識型態發展的指標。 The rewrite of the fiction and the reproduction of plays of “Oranges turn red” were very complicated and represented the significance of the era. The goal of this thesis is to analyze the transaction through tracing original data. Chi-Chun, the writer of “Oranges turn red”, was known for her gentle and honest non-fiction writing. In order to embody the unspeakable true experiences from her complex family background though, Chi-Chun chose the form of fiction to express herself. “Oranges turn red” along with Chi-Chun’s early creations such as “A-Yu” and “Li-Re” were all based on her own experience and were written to express her personal experiences and the myth of her life. Chi-Chun performed self-treatment and rescue via repeated writings, and created an ambiguous space between reality and fiction that let play-writers’ imagination to be able to fully expressed thus created new texts with different endings. Through the re-creation from different playwrights and writers, “Oranges turn red” was changed from gentle and composed fiction into valiant radio shows, movies, and radical TV dramas. The personal trauma of Chi-Chun was then re-annotated by female creators with various social backgrounds, which eventually lead to the national memory and became the standard in examine the development of social consciousness.