美國女性藝術家辛蒂‧雪曼於一九七○年代末期開始發表一輯名為《無題電影停格》的攝影作品，雪曼同時是其作品的模特兒與攝影師，她在作品中扮演成盛行於歐美五○、六○年代初期電影中各式的女性形象，發表之後引起各家學者熱烈討論。之後雪曼陸陸續續發表作品，她自己仍然是扮演模特兒與攝影師的角色，時而扮裝成獨立自信的女性、憂傷的青少女，有時則變成恐怖的怪物，甚至被噁心的嘔吐物圍繞，有時又化身為歷史肖像畫中的人物。雪曼作品最特殊之處即是觀眾總是可以在畫面中尋到雪曼的身影，然而令人訝異的是，一九九○年代初期作品的主角則變成醫學用的義肢與人體模特兒，此時雪曼不再出現於畫面中，直到一九九○年代中期雪曼才又再度出現於作品中，不過此時她並不是大張旗鼓地宣示自己的出現，而是默默躲在面具後只露出一雙眼睛。
雪曼崛起於一九七○年代末期，此時女性主義與後現代主義藝術經歷了十多年的發展，亟需援引範例驗證其論點，而雪曼取材自大眾媒體中女性形象的作品、使用攝影作為表達媒材、與同時身為攝影師與模特兒的種種特質，便成為藝評家們討論的重點。以道格拉斯‧克林普為首的藝評家以雪曼的作品為例，舉出後現代藝術的特質，包括影像的挪用(appropriation)、擬像(simulacrum)、劇場性與擁抱大眾文化的強烈立場等等；女性主義藝評家大都以「男性凝視」為依據，爭論雪曼的作品是否為女性主義意識下的產物。然而，雪曼對加諸於她身上的種種理論，一向抱持著不以為然的態度，她拒絕作品被貼上任何固定的標籤，而期望作品能有更多元的解釋與觀眾。上述眾多評論家對雪曼作品的解讀是本研究論述的重要課題，更重要的是還要由雪曼的訪談內容與藝術創作，探究其創作的真正意圖。

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（二）期刊
王雅各（1988）〈身體：女性主義視覺藝術在再現上的終極矛盾〉，《婦女與兩性學刊》，9:1-54。
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