而羅曼‧波蘭斯基在影壇縱橫數十年,以其獨特的視覺風格擄獲大眾,尤以恐怖電影最受眾人推崇與喜好。但波蘭斯基的恐怖電影並非如好萊塢片廠以製造魔幻場面或是充斥著聒噪的聲光特效為賣點,而是以樸實平淡的敘事手法營造詭異的氣氛。是此,本論文以羅曼‧波蘭斯基的公寓三部曲—《反撥》、《失嬰記》與《怪房客》―作為研究範本,以艾希克恐怖電影概念為基礎,影片分析為方法試圖找出各部影片中的主題以及導演如何營造恐怖的方式。 The horror film has always been regarded as a commercial movie. It represents the bloody, evil, and perverted pleasure on the screen. It has been neglected or underestimated by many critics for a long time. The french philosopher Éric Dufour rethinks the nature of the horror cinema and proclaims that there is no good movie or bad one. The horror cinema is like the other genre, which could show its artistic quality. He puts forward a notion about “figure” and clarifies the misunderstanding of technique between explication and implication. It relies on how the directors embody their horror concept by these techniques.
Roman Polanski is famous for his visual style. His horror films are deeply appreciated by the public. The director never shows the monsters, the bizarreries in the image or distorts the settings. All he has to do is follow a simple narrative and put a little thing to make the atmosphere uncanny. We select three films-Repulsion, Rosemary’s baby and The tenant for case studies. With the notion of the figure and film analysis, we could discuss these three films.