恐怖電影一直都是好萊塢主流電影中一項重要並且流行的一種類型。在一九七零年代末期，出現了一種新型的恐怖片，也就是所謂的跟蹤客/砍殺電影。雖然這類電影誇張地凸顯性別差異，不過還是以其展現出極度暴力以及色情的風格，迅速地受到廣大觀眾的歡迎。過去國外對於此類電影的研究多半由批評家蘿拉•莫薇的觀點出發，指出由於跟蹤客/砍殺電影中男性總被描寫為強壯的角色，而女性總是被窺視及性慾化的個體，因此唯有男性觀眾得以由此類電影當中獲得視覺上的快感。然而，很明顯地此一詮釋並不能夠完全解釋為何女性在跟蹤客/砍殺電影的忠實觀眾中佔有相當的份量。因此，有鑑於此，以及國內對於此類電影研究的稀少，本論文將仔細探討之前詮釋的缺失，並尋找一個更適當及周詳的理論來詮釋兩種性別觀眾的觀看議題，特別是在跟蹤客/砍殺電影這種性別刻畫差異極大的類型中。 本論文分為四個章節。第一章介紹跟蹤客/砍殺電影如何誇張地呈現性別差異，以及之前的評論家如何詮釋此類電影中的刻板元素。第二章則探討莫薇如何批評好萊塢主流電影為傳播父權意識型態的機制，以及跟蹤客/砍殺電影如何成為此意識型態的傳聲筒。第三章則指出莫薇如何為了將批判父權體系為重心而在引用佛洛依德的理論時刻意忽略了女性在獲得視覺快感的能動性。更重要地，第四章引用「幻象」的概念，指出視覺快感不應該因觀眾的性別而有所不同；唯有在「幻象」的領域中，不管是男性或是女性都可以主動地獲得視覺快感，那怕是像跟蹤客/砍殺電影這種刻意凸顯性別差異的電影類型。最後，第五章為前述論點作個總結，指出「幻象」為現有的理論中最能詮釋觀眾在觀看跟蹤客/砍殺電影時所獲得的視覺快感。 / Horror films have been an important and popular form of mainstream Hollywood films. In the late seventies, a special type of horror films, stalker/slasher films, characterized by their demonstration of extreme violence and sex, immediately attracted a huge amount of spectators despite that males are always depicted as powerful agents whereas females the powerless and eroticized objects. Previous critics analyze stalker/slasher films by adopting Laura Mulvey’s concepts, indicating that only males can require visual pleasure through the films. However, the interpretation obviously fails to account for the fact that females comprise a significant amount of stalker/slasher films spectators. As a result, the thesis aims to indicate the defects of those critics and, moreover, to search for a theory that provides a better interpretation of spectators’ visual pleasure in viewing stalker/slasher films. The thesis consists of five chapters. Chapter One introduces how stalker/slasher films dramatize gender differences and how the previous critics analyze their conventional elements. Chapter Two discusses how Mulvey criticizes mainstream Hollywood cinema as a mechanism that spreads patriarchal ideology and how stalker/slasher films manifest the patriarchal ideology. Chapter Three, on the other hand, points out how Mulvey selectively adopts Freud’s theory because of her political nature and how her theory fails to account for a spectatorship with which both men and women can acquire visual pleasure in viewing stalker/slasher films. Most importantly, Chapter Four, introduces the concept of fantasy, indicating that spectatorship should not be demarcated along biological gender lines; within the realm of fantasy both men and women are the active agents acquiring visual pleasure through adopting multiple and fluid spectating positions. Finally, Chapter Five concludes that fantasy may be a better perspective that accounts for not only males’ but also females’ visual pleasure in viewing stalker/slasher films.