指導教授：徐鵬飛

口試委員：廖潤珮、黃士賢

中文摘要：

2019年台灣國際女性影展策畫以「女性復仇」電影為主題的單元，挑選五部橫跨1960至1980年代初的亞洲電影，將數位修復版本的異色作品再度搬演。藉由數位修復工程喚起曾經紅極一時，卻在影史中不斷被忽略的剝削電影。女性復仇電影以女體裸露以及血腥暴力元素作為電影宣傳話題，並帶給觀眾無限視覺快感與想像，不僅成功在當時刮起一陣風潮，也捧紅不少飾演「復仇女主角」的女明星。
本論文針對女性復仇電影中的女性形象轉變作為研究主題，探討當中女性復仇角色從受害者到施暴者間的轉折。首先從社會背景及影像中女性所呈現的刻板印象切入研究，檢視該類型電影的興起，以及在各地發展的情況。接著，研究女體如何被暴露在該類型電影中。最後挑選台灣的《瘋狂女煞星》及法國的《黑衣新娘》作為研究文本，重點分析與比較兩部電影中女性復仇形象的特色與差異。

英文摘要：

Taiwan Women Make Waves International Film Festival curated a section themed on "Female Revenge" movies in 2019, selected five Asian films from the 1960s to the early 1980s, and rerun the digitally restored versions of these cult genre movies. Thanks to digital restoration projects reminds us that there has the history, the exploitation films that were marginalized in the history of cinema for a long time. The female revenge movie with female nudity and shocking elements, brought the audience visual enjoyment and unlimited imagination, successfully blowing up a wave at that time and making a celebrity effect to play the heroine of revenge.
This thesis focuses on the transformation of the female image in Female Revenge movies as a research theme, studies the metamorphosis of women: From victim to executioner. Starting from the social environment and the stereotypes of women in the image, we will examine the context of this type of film and its development in various places of the world. We also analyze how the female body is exposed to the images, in order to examine how this genre of film shows female nudity in the scene. Finally, we chose two films, one from Taiwan and another from France on the theme of "female revenge", The lady avenger and The Bride Wore Black as a corpus to analyze them and compare the image of revenge feminine.