本論文試圖以拉岡精神分析哲學的角度，去分析美國經典驚悚電影《沈默的羔羊》。很長時間以來，此電影的女主角克萊麗絲‧史達琳在美國的八○年代，以現代女性形象的風格風靡全美。而此論文則借用拉岡心理學理論探討此文本不同於女性主義觀點的議題。第一章則是用拉岡精神分析哲學中的「凝視」去比較羅拉‧莫為所提出以「男性觀看」為出發點的理論，藉以討論此電影導演強納森‧迪姆如何用解構「男性觀看」觀點的方式，用接近於拉岡心理學的方式重新建構此部驚悚電影。根據莫為的理論，過去的驚悚電影習於使用「男性/看，女性/被看」的模式，去建構性別上的權力關係。但在《沈默的羔羊》中，導演成功地運用新的手法有別於過去「男性觀看」的模式，提供觀眾一種新的觀影經驗。第二章則是探討女主角史達琳失去父親的創傷與其病症、慾望之間的關連。在以往女性主義電影批評中，把女主角史達琳對於漢尼拔醫生的情感曖昧，歸咎於女主角的戀父情結。但此章節，我採用精神分析哲學理論中的移情作用，去分析女主角與漢尼拔醫生之間的互動、以及她經常夢見羔羊尖叫的病症，皆是在他者中呈現其小對物的變形。而女主角也從這個病症中呼應大對體的慾望，從中享受快感。第三章則是探討漢尼拔醫生這個人物所象徵的意象。對於史達琳而言，在她的移情作用中投射在漢尼拔醫生身上的情感，很顯然地是一種追求快感的沈溺，而其中這種行為也含有僭越性質，從僭越社會禁忌的亂倫原則中得到快感。透過引用佛洛依德的「詭奇/二元」理論，在此部分去討論漢尼拔醫生是如何在女主角身上、與象徵界兩者之間呈現「真實界中的快感父親形象」。另外，有關於「真實界中的快感父親形象」的議題，也將綜合文本分析以及漢尼拔醫生的食人意象中去討論象徵界與真實界的模糊、矛盾關係。 This thesis endeavors to study the American classic horror film The Silence of the Lambs from Lacanian psychoanalytic theory. For a long time, this film is famous for its successful try with a female leading character Clarice Starling who represents the modern woman in American’s 80s. However, my study of the film departs from the feminist reading. In Chapter One, I adopt Lacan’s theory of the gaze in contrast to Laura Mulvey’s male gaze in order to discuss how Jonathan Demme deconstructs feminist conception of gaze. According to Mulvey’s reading of the gaze, the horror films often demonstrate the gender issues with the power struggles: males/to see and females/to be seen. In The Silence of the Lambs, Jonathan Demme successfully deals with the power of the gaze in different ways to provide audience a new experience of viewing horror films. In Chapter Two, Starling’s symptom, desire and trauma of losing her father will be the focuses. Many feminist film critics often see Starling’s love for her dead beloved father closely related to her ambivalent feelings for Hannibal Lecter. Through Lacanian psychoanalytic approach of transferential relationship, I will argue that Starling’s love for Lecter and her symptom of dreaming the screaming lambs point to the reconfigurations of the object a represented in the Other that leads her to enjoy the jouissance without traversing the fantasy for the Other’s desire. Chapter Three opens up the issues on the symbolization of the character Hannibal Lecter. To Starling, her transferential relationship with Lecter is obviously connected to her indulgence in obtaining the jouissance from the transgressions of the incest taboo. Through Freud’s theory of the uncanny double, I will argue how Lecter stands as the uncanny double, the Father-jouissance, to Starling and to the Symbolic in this part. Besides, the topic of the Father-jouissance will be discussed combined with textual analysis of his cannibalism to demonstrate the paradoxical relations between the Father-jouissance and the Symbolic.
