希區考克電影《蝴蝶夢》、《美人計》、《迷魂計》中的完美女人面具

Abstract

本文旨在研究希區考克電影的三部電影《蝴蝶夢》、《美人計》和《迷魂計》中的三張完美女人面具，藉以補充茱蒂絲。巴特勒(Judith Butler)性別展演理論(performativity theory)裡所遺漏的討論。巴特勒認為同性戀主體可以經由性別展演策略如反串/模仿/扮裝，來顛覆社會上刻板的性別建制。然而，巴特勒並未深入涉及此展演理論在異性戀機制下的實行和討論。因此，本文旨在補足這方面的研究。文內我著重於分析希區考克此三部電影裡，三位女主角所使用的扮裝策略。電影中的三位女主角皆有孤兒的身世，她們易於接受新環境的召喚(Althusser)，也傾向好奇所愛對象的內心慾望。但是，在她們化身為「愛情間諜」，並試圖使用「完美女人」面具來取悅愛人的同時，她們最終暸解到，她們的扮裝策略招致了意想不到的毀滅性結局。因此，本文想強調，在運用扮裝策略的同時，我們必需考慮愛的問題，並希望以此文的討論，補足巴特勒的扮裝理論內未言及的異性戀扮裝議題。

This thesis is dedicated to the examination on the three perfect-woman masks in Hitchcock’s three films: Rebecca, Notorious, and Vertigo, so to supplement the omitted discussion of performativity strategy in Judith Butler’s performativity theory. According to Butler’s theory, a queer subject could subvert the institutionized gender stereotypes by employing the performativity strategy such as drags/imitation/masquerading. However, Butler omits the discussion about the actual application of performativity strategy in heterosexual relationships. In my analysis, I find the three heroines’ adoption of performativity strategy questionable in the three Hitchcockian films. Apparently, the three orphaned heroines are prone to accept the interpellations (Althusser) from the new environment and wonder their lover’s inner desire. However, after they turn into “love spies” and want to utilize the perfect-woman mask to please their love objects, they find their performativity strategy incurs destructive results they never expected. As a result, I seek to supplement Butler’s theory by stressing the importance of considering the question of love when the performativity strategy is applied in a heterosexual relationship.