長久以來，傳統異父權電影中的男性凝視結構所蘊含的主客體二分法限縮了凝視的其他可能形式。有鑑於此，本論文以兩部電影《因為愛你》與《燃燒女子的畫像》中的女同志凝視為研究對象，試圖探索另一種凝視結構，討論女同志凝視如何展現顛覆異父權規範的電影美學。本論文第一部份從精神分析的角度出發，檢視兩部電影中的女同志凝視藉由打破沉浸式幻覺中的一貫性認同來抵抗男性凝視掩蓋象徵性缺失的企圖，並運用女同志戀物的方式致使凝視得以在觀看主體與觀看客體之間回返。本論文第二部份延續凝視回返的論述，以現象學理論分析女同志凝視的觸覺維度如何運用體感的接近性喚起相互的視覺觸感，同時允許女同志慾望的迷失質感得以浮現，從而瓦解了男性凝視中固有的主客體關係。研究結果顯示，《因為愛你》與《燃燒女子的畫像》中的女同志凝視顛覆了傳統異父權電影的凝視結構，不再侷限於主客體二分法，同時彰顯了女同志慾望在觸覺維度的特殊性。

The structure of the male gaze in conventional heteropatriarchal cinema has constrained alternative forms of gaze through its subject-object dichotomy. Given this situation, this thesis examines the lesbian gaze in Carol and Portrait of a Lady on Fire as the research subject, aiming to explore an alternative gaze structure and discuss how the lesbian gaze presents subversive cinematic aesthetics that challenge the traditional heteropatriarchal norms. The first part of the thesis employs a psychoanalytic framework to demonstrate how the lesbian gaze in these films resists the male gaze’s attempt to conceal the symbolic lack by disrupting the aligning identification within the immersive illusion. Additionally, the gaze fosters mutuality between the seeing subject and the seen object through lesbian fetishism. Building on this concept of mutuality, the second part extends the discussion by applying phenomenological theory to analyze how the tactile dimension of the lesbian gaze evokes a reciprocal sense of haptic visuality through bodily proximity, allowing the disorienting texture of lesbian desire to emerge, which subsequently dismantles the rigid subject-object relation of the male gaze. The results indicate that the lesbian gaze in Carol and Portrait of a Lady on Fire subverts the structure of the traditional heteropatriarchal gaze, no longer limited to the subject-object dichotomy, while simultaneously exhibiting the specificity of lesbian desire within the tactile dimension.

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