本篇論文著重於分析英國導演莎莉．波特（Sally Potter）三部作品《驚悚》（Thriller）、《美麗佳人歐蘭朵》（Orlando）以及《夢幻舞神》（The Tango Lesson）中女性凝視的力量。筆者意欲將波特的作品與相關的電影理論對話，並援引相關的精神分析理論、視覺理論、性別理論，透過場面調度、演員動作與表演、燈光、聲音、敘事方式與脈絡的呈現，以及取景運鏡的攝影機運動，為其鏡頭前後女性影像的觀視力量，尋找最合宜的詮釋。本篇論文將分別從女性凝視的質問力量、女性凝視性別越界的力量、以及女性凝視的新生力量進行分析討論。女性凝視的質問力量就是女性將原本視為理所當然的性別安排，當成可被檢視合理性的觀察對象，並對其中因性別而產生的差別待遇，提出質疑。女性凝視性別越界的力量就是改變原本以二元對立、陽具中心的觀點，看待性－性別－性慾間「自然」從屬關係的觀念，代之以多元、流動、模擬兩可的思維看待性別議題。女性凝視的新生力量代表兩種意涵，其一是指女性因拒絕陽具中心主義的價值觀，而獲致開放心靈的新生，其二是指女性歷經心智生殖所產生創作作品的新生生命。波特電影中的凝視力量就是強調質疑、性別越界以及新生的過程，這過程並非一次即止，成為一種面對性別議題的態度，以開放的心靈接受性別呈現沒有標準答案，只有人性考量的相互接受。

This thesis focuses on three of Sally Potter’s movies- Thriller, Orlando and The Tango Lesson. It will explore the movies’ mise-se-scène, performance, light, sound, narrative context and movement of camera in terms of psychoanalytic theory, visual theory, and gender theory. Throughout the project, I analyze the power of the female gaze in Potter’s films as a query power, cross-gender power, and newborn power.
In the first chapter, I consider how each leading character faces inequality by querying and looking at different objects. The first power of the female gaze expresses not only the strength of the querying but also raises the consciousness of inequality between men and women. In the second chapter, I will explore the multiple displacements of sex, sexuality, and gender in Potter’s films. The second power of the female gaze addresses gender issues with an ambiguous attitude instead of a dualistic and phallocentric one. The third chapter discusses the endings in each film which give each leading character different new lives. Mimi understands the operation of gender ideology and changes her fate to be a new woman. Orlando and Sally use the pen and camera to create works. The third power of the female gaze is the power of changing the self and creating art. The power of the female gaze in Potter’s films is the process of querying, crossing gender, and giving birth. The power of female gaze is actually a gender ideology of an open mind and no permanent best standard.

中文報紙與期刊

Laura Mulvey作，林寶元譯，〈視覺快感與敘事電影〉，《電影欣賞》，第42期，1989. 11，頁21-31。
Laura Mulvey作，林寶元譯，〈「視覺快感與敘事電影」的反思以及金維多《太陽浴血記》一片的啟示〉，《電影欣賞》，第43期，1990. 01，頁44-49。
宋德明，〈吳爾芙作品中的女性意識〉，《中外文學》，第14卷，第10期，1986. 03，頁50-65。
林宇玲著，“Reading the Theoretical Work of Judith Butler,” 《婦女與兩性學刊》，第8期，1995. 04，頁239-263。
黃逸民，〈法國女性主義的貢獻與盲點〉，《中外文學》，第21卷第9期，1993. 2，頁4-21。
廖炳惠，〈後殖民與後現代－Homi K. Bhabha的訪談〉，《當代》，第71期，1992. 3，頁20-25。
蕭嫣嫣，〈我書故我在－論西蘇的陰性書寫〉，《中外文學》，第24卷第11期，1996. 4，頁56-68。
王萱儀專訪，〈莎莉波特 要用電影改變全世界〉，《自由時報》，2003年9月24日，第33版。
王萱儀，〈能編能舞╱自導自演╱還是音樂家╱莎莉波特╱舞動女性影像〉，《自由時報》，2003年9月15日，第29版。
王萱儀，〈莎莉波特泡腳慶生－傳奇導演 不愛回顧 不捨倫敦時間〉，《自由時報》，2003年9月21日，第35版。
李又新，〈謳歌女性主義、神往女同性戀 淘金女郎〉，《破報》，2003年9月19-28日，復刊277號。
楊元鈴，〈莎莉波特的電影魅力－華麗炫目的性別書寫〉，《台灣日報》，2003年9月20日，第25版。

英文期刊

Degli-Esposti, Christina, “Sally Potter’s Orlando and Neo-Baroque Scopic Regime,” in Cinema Journal, 36: 1 (Fall 1996), pp. 75-93.
Del Rio, Elena, “Rethinking Feminist Film Theory: Counter-Narcissistic Performance in Sally Potter’s Thriller,” in Quarterly Review of Film and Video, 21: 1 (Jan. 2003), pp. 11-24.
Ehrenstein, David, “Out of the Wilderness: An Interview with Sally Potter,” in Film Quarterly, 47: 1 (Fall 1993), pp. 2-7.
Florence, Penny, “A Conversation with Sally Potter,” in Screen, 34: 3 (Jul. 1993), pp. 275-284.
Fischer, Lucy, “Dancing through the Minefield: Passion, Pedagogy, Politics, and Production in The Tango Lesson,” in Cinema Journal, 43: 3 (Spring 2004), pp. 42-58.
Guano, Emanuela, “She Looks at Him with the Eyes of a Camera: Female Visual Pleasures and the Polemic with Fetishism in Sally Potter’s Tango Lesson,” in Third Text, 18: 5 (Sep. 2004), pp. 461-474.
Hollinger, Karen and Winterhalter, Teresa, “Orlando’s Sister, Sally Potter Does Virginis Woolf in a Voice of Her Own,” in Style, 34: 2 (Summer 2001), pp. 237-257.
Imre, Anikó, “Twin Pleasure of Feminism: Orlando Meets My Twentieth Century,” in Camera Obscura, 18: 54 (Dec. 2003), pp. 176-211.
MacDonald, Scott, “Interview with Sally Potter,” in Camera Obscura, 35 (May 1995), pp. 187-221.
Pidduck, Julianne, “Travels with Sally Potter’s Orlando: Gender, Narrative, Movement,” in Screen, 38: 2 (Apr. 1997), pp. 172-189.
Ridgeway, Cecilia L. and Smith-Lovin, Lynn, “The Gender System And Interaction,” in Annual Review of Sociology, 25: 1 ( 1999), pp. 191-216.
Stimpson, Catharine R. “The Androgyne and the Homosexual,” in Women’s Studies, 2: 2 (1974), pp. 237-247.
Vollmer, Ulrike, “I Will Not Let You Go Unless You Teach Me the Tango: Sally Potter’s The Tango Lesson,” in Biblical Interpretation, 11: 1 (2003), pp. 98-112.
Vollmer, Ulrike, “Towards An Ethics of Seeing: Sally Potter’s The Tango Lesson,” in Literature and Theology, 19: 1 (Mar. 2005), pp. 74-85.
Waites, Kathleen and Ferriss, Suzanne, “Unclothing Gender: Postmodern Sensibility in Sally Potter’s Orlando,” in Literature Film Quarterly, 27: 2 (Summer 1999), pp. 110-115.
Watkins, Susan, “Sex Change and Media Change: From Woolf’s to Potter’s Orlando,” in Mosaic: A Journal for the Comparative Study of Literature, 31: 3 (Sep. 1998), pp. 41-59.

中文書籍

Andrew, Geoff著，焦雄屏譯，《導演視野：遇見250位世界著名導演（下）》，台北：麥田，初版，2005年。
de Beauvoir, Simone著，陶鐵柱譯，《第二性》，台北：貓頭鷹，初版，1999年。
Derrida, Jacques著，張寧譯，《書寫與差異》，台北：城邦文化，2004年。
Freud, Sigmund著，車文博編，《弗洛伊德文集—第二卷》，長春：長春出版社，1998年。
Irigaray, Luce著，李金梅譯，《此性非一》，台北：桂冠，初版，2005年。
Issak , Jo Anna著，陳淑珍譯，《女性笑聲的革命性力量：女性主義與當代藝術》，台北：遠流，初版，2000年。
Jameson, Fredric著，吳美真譯，《後現代主義或晚期資本主義的文化邏輯》，台北：時報文化，初版，1998年。
Kaplan, E. Ann編，曾偉禎譯，《女性與電影－攝影機前後的女性》，台北：遠流，初版，1997年。
Klein, Melanie著，呂煦宗、劉慧卿譯，《嫉羨與感恩》，台北：心靈工坊，2005年。
Lurie, Alison著，李長青譯，《解讀服裝》，台北：商鼎文化，1998年。
Pollock, Griselda著，陳香君譯，《視線與差異－陰柔氣質、女性主義與藝術歷史》，台北：遠流，初版，2000年。
Sontag, Susan著，黃翰荻譯，《論攝影》，台北：唐山，初版，1997年。
Tong, Rosemarie著，刁筱華譯，《女性主義思潮》，台北：時報文化，初版，1996年。
Woolf, Virginia著，陳惠華譯，《美麗佳人奧蘭多》，台北：志文，初版，2004年。
Woolf, Virginia著，張秀亞譯，《自己的房間》，台北：天培文化，初版，2000年。
杜聲鋒著，《拉康結構主義精神分析學》，台北：遠流，初版，1988年。
游惠貞編，《女性與影像－女性電影的多角度閱讀》，台北：遠流，初版，1994年。
張小虹，〈兩種歐蘭朵：文字╱影像互動與性別╱文本政治〉，《性別越界：女性主義文學理論與批評》，台北：聯合文學，初版，1995年。
張小虹，〈腳與攝影機〉，《感覺結構》，台北：聯合文學，初版，2005年。
陳儒修著，《電影帝國－另一種注視：電影文化研究》，台北：萬象，初版，1994年。

英文書籍

Ed. Adami, Giuseppe, Letters of Giacomo Puccini, Philadelphia and London: Lippincott, 1931.
Bakhtin, Mikhail, Rabelais and His World, trans. Helen Iswolsky, Cambridge: MIT Press, 1968.
Berger, Joseph, Norman, Robert Z, Balkwell, James, and Smith, Roy F, Status Characteristics and Social Interaction: An Expectation-states Approach, New York: Elsevier Scientific, 1977.
Bowlby, Rachel, Virginia Woolf: Feminist Destinations, New York: Basil Blackwell, 1988.
Brod, Harry, “Masqulinity as Masqurade,” in The Masculinity and Representation, ed. Andrew Perchuk and Helaine Posner, Cambridge: MIT Press, 1995, pp. 13-19.
Butler, Judith, “Imitation and Gender Insubordination,” in Inside/Out: Lesbian Theories, Gay Theories, ed. Diana Fuss, New York: Routledge, 1991, pp. 13-31.
Cixous, Hélène, “The Laugh of the Medusa,” in Feminisms: An Anthology of Literary Theory and Criticism, ed. Robyn R. Warhol and Diane Price Herndl, New Brunswick: Rutgers UP, 1991.
Cixous, Hélène, Coming to Writing and Other Essays, ed. Deborah Jenson, trans. Sarah Cornell, Deborah Jenson, Ann Liddle, and Susan Sellers, Cambridge, Mass.: Harvard University Press, 1991.
Clement, Catherine, Opera, or the Undoing of Women, trans. Betsy Wing, Minneapolis: University of Minnesota Press, 1989.
Chodorow, Nancy, The Reproduction of Mothering: Psychoanalysis and the Sociology of Gender, Berkeley: University of California Press, 1978.
Donohue, Walter, “Immortal longing: Walter Donohue Talks with Sally Potter, in Film/ Literature /Heritage: A Sight and Sound Read. ed. Ginette Vincendeau, London: British Film Institute, 2001, pp. 57-61.
Doane, Mary Ann, “Fikm and the Masquerade: Theorizing the Female Spectator,” in Issues in Feminist Film Criticism, ed. Patricia Erens. Bloomington: Indiana University Press, 1990, pp. 41-57.
Dowrkin, Andrea, Right-Wing Woman, New York: Coward McCann, 1983.
Eco, Umberto, A Theory of Semiotics, Bloomington: Indiana University Press, 1979.
Gubar, Susan, “The Blank Page and the Issues of Female Creativity,” in The New Feminist Criticism, ed. Elaine Showalter, New York: Pantheon Book, 1985, pp. 292-313.
Hankins, Leslie K, “Redirections: Challenging the Class Axe and Lesbian Erasure in Potter’s Orlando,” in Re: Reading, Re: Writing, Re: Teaching Virginia Woolf: Selected Papers from the Fourth Annual Conference on Virginia Woolf, ed. Eileen Barrett and Patricia Cramer, New York: Pace UP, 1995.
Hendrickson, Alice Eagly, Sex Differences in Social Behavior: A Social-Role Interpretation, Hillsdale, NJ: Lawrence Erlbaum Associates, 1987.
Irigaray, Luce, Speculum of the Other Woman, Trans. Gillian C. Gill. New York: Cornell University Press, 1985.
Johnston, Clair, “Woman's Cinema as Counter-Cinema,” in Feminism and Film, ed. E. Ann Kaplan, London: Oxford University Press, 2000, pp. 22-33.
Kaplan, E. Ann, Women and Film: Both Sides of the Camera, New York: Methuen, 1983.
Kaplan, E. Ann, “Is the Gaze Male?,” in Feminism and Film, ed. E. Ann Kaplan, Oxford and New York: Oxford University Press, 2000, pp. 119-138.
Lacan, Jacques, Écrits: A Selection, trans. Alan Sheridan, New York: Norton, 1977.
Mellencamp, Patricia, A Fine Romance: Five Ages of Film Feminism, Philadelpia: Temple University Press, 1995.
Moore, Madeline, The Short Season Between Two Silence: The Mythical and the Political in the Novels of Virginia Woolf, Boston: George Allen & Unwin, 1984.
Mulvey, Laura, “Visual Pleasure and Narrative Cinema,” in Visual and Other Pleasures, Bloomington: Indiana University Press, 1989.
Nochlin, Linda, “Why Have There Been No Great Women Artists,” in Women, Art, and Power and Other Essays, New York: Harper & Row, 1998, pp. 145-178.
O’Brien, Mary, The Politics of Reproduction, Boston: Routledge & Kegan Paul, 1981.
Pacteau, Francette, “The Impossible Referent: Representation of the Androgyne,” in Formations of Fantasy, ed. E. Victor Burgin and Cora Kaplan, New York: Methuen, 1986, pp.71-77.
Rich, Adrienne, “Compulsory Heterosexuality and Lesbian Existence,” in Blood, Bread, and Poetry: Selected Prose 1979-1985, New York: Norton, 1986, pp. 23-75.
Rich, Adrienne, Of Woman Born: Motherhood as Experience and Institution, New York: Norton, 1979.
Rich, B. Ruby, Chick Flick: Theories and Memories of the Fiminist Film Movement, Durham: Duke University Press, 1998.
Riviere, Joan, “Womanliness as Masquerade,” in Formations of Fantasy, ed. Victor Burgin and Cora Kaplan, New York: Methuen, 1986, p.35-44.
Rose, Jacqueline, “Paranoia and the Film System,” in Feminism and Film Theory, ed. Constance Penley, New York: Routledge, 1988, pp. 144-158.
Silverman, Kaja, The Subject of Semiotics, New York: Oxford University Press, 1983.
Smith, Harold L, The British Women’s Suffrage Campaign, London: Addison Wesley Longman Limited, 1998.
Turner, Graeme, Film As Social Practice, New York: Routledge Press, 1988.
Valerie, Bryson, Feminist Political Theory: An Introduction, Basingstoke: The Macmillan Press LTD, 1992.
Williams, Linda, “Something Else Besides A Mother: Stella Dallas and the Maternal Melodrama,” in Issues in Feminist Film Criticism, ed. Patricia Erens, Bloomington: Indiana University Press, 1990, pp. 137-162.
Woolf, Virginia, Orlando: An Biography, Oxford: Oxford UP, 1998.

其他

劉開鈴，〈Judith Butler的展演理論：基本議題的探討〉，《專題演講》，高雄：國立高雄師範大學性別教育研究所，2005年5月25日。
女性影像學會編，《2003第十屆女性影展》手冊。
英國電影協會網站，http://www.screenonline.org.uk/people/id/490062/。
香港芭蕾舞團之友編輯部作，〈圖解芭蕾舞詞彙〉，《舞薈》，第8期，2004. 7，電子期刊。http://www.hkballet.com/footnotes/issue0407/footnotes8_chi.htm