本論文企圖透過有史以來最受爭議的電影《受難記：最後的激情》（2004），探究「耶穌電影」與「反猶主義」之間的複雜關係。《受難記：最後的激情》是一部由著名演員梅爾吉伯遜所自行出資、製作與編導的典型「耶穌電影」，本片憑藉著鮮明寫實的銀幕形象與極度暴力的詮釋風格，在美國社會掀起前所未有的文化論戰與「反猶主義」爭議熱潮；儘管「耶穌類型」電影經常流露「反猶主義」傾向，唯本片卻是其中一個非常顯著而特殊的例子。 從一個基督論的分析觀點，本文企圖從本片呈現出來的銀幕形象背後，揭示本片如何大量取材具有反猶爭議的經典與非經典元素，並運用魔鬼化的敘述手法加以詮釋。此外，本文也將論析圍繞在本片製作、發行與映演過程中，所產生的宗教社群、基督教派與商業行銷延伸爭議，說明現今美國電影工業生態與保守社會氣氛如何渲染本片當中的反猶爭議。 透過《受難記：最後的激情》例證的考察，我們將會發現，由於「耶穌電影」通常不僅具有濃厚的基督宗教色彩，觸及基督宗教與猶太教的互動關係，也傳達刻板的「基督論」教義和神學，使得「耶穌電影」幾乎很難迴避「反猶主義」的指控，特別是在現今市場導向和宗教社群日益對立的情況之下。 / This dissertation proposes a discussion about the relationship between the Jesus film genre and anti-Semitism by exploring Mel Gibson’s film The Passion of the Christ (2004), which has been ranked as “the most controversial movie of all time”. The release of The Passion of the Christ has triggered an unprecedented controversy over anti-Semitism in the America. Individual and critical responses to the film have ranged from those who charge the director with pornographic violence or reviving anti-Semitism to others who found Gibson’s portrayal of Jesus to be profoundly moving and spiritually uplifting. Although Gibson claimed that The Passion of the Christ was faithful to the gospels and the gospels were faithful to history, there were still plenty of historical problems and non-biblical material, such as the stations of the cross, passion play and mysticism of the Middle Ages, seamlessly woven into the film narrative. After addressing problems inherent in The Passion of the Christ, this dissertation lies with an inquiry into the demonized narrative and anti-Semitic material behind the silver screen, viewed from a Christological perspective, and with the surrounding communal, denominational and commercial disputes which occur in the course of film production, distribution and exhibition.