電影作為一種人類的「再－現」的藝術之表達形式，在呈現「動物」或「動物性」時不僅指涉了「轉換」的程序，更有「理念構造」的進程。如果電影的「動物」或「動物性」之命題得以可能，它是以何種影音型態與理念模式現身／聲？本論文擬透過幾種不同的文類、影片及類型對「動物」或「動物性」所做的「再－現」及理念化進程，開展三個雜揉了有關主題的、形象的及能量的面向（既非人又非獸、介於的人性與「動物性」、毀滅人性的「動物性」？）之描述、分析及詮釋。

Cinema, as an artistic form of so called “re-presentation” of mankind, involves referring not only to the procedure of “transformation”, but also process of “ideation”. If the proposition that cinema has its “animal” essence or “animality” is permissible, what models of sound and image as well as patterns of ideation will the cinema re-present? This thesis tries to perform three descriptive, analytic and hermeneutic studies concerning to the thematic, figurative and energetic dimensions (i.e. the dimension of non-human and non-animal, the dimension between humanity and “animality”, and the dimension of “animality” which is destructive to humanity) through the re-presentations and processes of ideation towards the issue of “animal” or “animality” shown in different genre, films and types.