本論文試以精神分析的角度閱讀希區考克《後窗》與《驚魂記》兩部影片中的恐怖意涵與觀影經驗，透過觀眾與社會的幻想框架解讀恐怖的迷人因素，深入探討存在於文本與文化脈絡中無法驅除並且不斷復返的恐怖元素。第一章以佛洛伊德 「詭奇」及拉岡「凝視」理論的共通點為基礎，在模糊界線，打破內外決然二分的前提下，同時建立恐怖在本論文中的定義。影片中主角皆反應了與凝視相關的問題主體，本章將透過希區考克在電影形式與技巧上的呈現，討論電影中的凝視與詭奇。第二章以拉岡的理論為依歸區分變態狂與精神病的差異，進而揭開主角精神結構的問題，而恐怖的焦點也將轉移到分析主角的心理機制以及主對體間的關係，此外，「幻想」與「真實層」等觀念也有助於釐清本章對主體慾望及恐怖之間的關聯。第三章延伸之前的論述並且結合哥德小說中的恐怖，闡述身體/屍體如何反應主角的心理狀態，運用拉岡精神分析理論中「物」的觀念，試闡述屍體所隱含恐怖但又難以抗拒的特性如何創造詭譎的觀影經驗與觀眾的焦慮。藉由精神分析理論重新定義的恐怖包含了享受、創傷與怪物性，提供一個詮釋文類上的轉變、檢視個人心理黑暗面以及正視社會內部敵對本質的角度。

The psychoanalytic reading of Alfred Hitchcock’s Rear Window and Psycho in this study aims to reconceptualize horror in the films as well as the audiences’ cinematic experience.  Accordingly, this thesis provides an angle to look into the fascination of horror through the audiences’ and the society’s fantasy and, therefore, contributes to uncovering the horror which can not be expelled but emerges over and over again within the text as well as the context.  Chapter One discusses the congeniality between the Freudian uncanny and Lacanian gaze, as both underscore the irresistible attraction of horror.  Transgressing the borderline between the familiar and unfamiliar, the interior and exterior, such an analogy builds up the foundation of discussion and digs out the secret of horror.  The protagonists, Jeffries in Rear Window and Norman in Psycho both attest to the influence of the gaze on the subject.  In Chapter One, the gaze is exhibited formally through many scenes of Hitchcockian style.  Chapter Two focuses on the characterization of perversion and psychosis based on Lacanian approach and discusses the representation of these structural problems in the films.  From formal techniques of the films to the interiority of the characters’ psychological mechanism, horror can be represented not only by what can be seen but also by the intersubjective activity.  Besides, this chapter also discusses the issue of the fantasy and the Real that discloses the myth of the characters’ desire and the origin of horror.  Chapter Three extends the previous discussions to the Gothic horror with respect to the representation of the body in the films.  The different strategies of representing body truly reflect the protagonists’ psychological condition.  The enigmatic fascination of the body can be deciphered through the Thing, the object of desire.  The scenario about the body also creates the cinematic experience of the uncanny as well as the audiences’ anxiety.  Since horror conveys the monstrosity as well as enjoyment which can not be eliminated but compulsively reappears in the text and the context, the psychoanalytical reconceptaulization of horror provides a stance to see through the generic transformations, the darkest part of the subject as well as the antagonism of the society.

Introduction -------------------------------------------------------------------------------------------- 1
Chapter One  Gaze and the Uncanny ----------------------------------------------------------- 10
             Theoretical Framework ---------------------------------------------------------- 11
             The Hitchcockian Stain and Montage in Rear Window and Psycho ----- 20
Chapter Two  The Gaze and the Clinical Structure: Perversion and Psychosis -------- 28
             Lacanian Clinical Structure: The Theoretical Basis of Perversion and 
             Psychosis ---------------------------------------------------------------------------- 29
             Encountering the Impossible: Jeffries’ Fantasy Structure in Rear 
             Window ------------------------------------------------------------------------------ 38
             The Painful Enjoyment: Norman’s Psychosis in Psycho ------------------ 42
Chapter Three Framing the Body: The Thing and Gothic Horror ------------------------- 47
             The Fascinating Object: The Uncanniness and Impossibility of the 
             Thing --------------------------------------------------------------------------------- 48
             From Absence to Exposure: The Body and the Gaze ---------------------- 51
Conclusion ---------------------------------------------------------------------------------------------- 66
Works Cited -------------------------------------------------------------------------------------------- 72

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