本文藉由維吉尼亞．吳爾夫（Virginia Woolf）所杜撰的朱蒂絲．莎士比亞（Judith Shakespeare）之故事情節為起點，進而提出「如果這位莎士比亞的妹妹改以女扮男裝的姿態出現在劇院門口，其是否會在劇場成名」的這樣一個問題，來探討當代三部與莎翁有關的電影——巴茲．魯爾曼（Baz Luhrmann）的《羅密歐與朱麗葉》（William Shakespeare’s Romeo and Juliet）、安迪．費克曼（Andy Fickman）的《足球尤物》（She’s the Man），以及約翰．麥登（John Madden）的《莎翁情史》（Shakespeare in Love），旨在分析電影中所呈現的女性角色如何因性別的因素而導致其遭遇各種困境。 本文將這三部電影與朱麗葉．狄森伯（Juliet Dusinberre）形容的「將女人歸屬於男性」的學術界景象以及其對於主流批評所產生的焦慮相連結。本文嘗試突顯莎翁所具有之文化力量以及其與女性主義莎學批評間之相關性。

By taking Virginia Woolf’s Judith Shakespeare story as a point of departure, and by invoking the question of whether a crossdressed Judith Shakespeare would make it to the theater, this paper explores the social pressures on women presented in three contemporary Shakespeare-related reproductions and adaptations on screen—Baz Luhrmann’s William Shakespeare’s Romeo and Juliet, Andy Fickman’s She’s the Man and John Madden’s Shakespeare in Love. It associates the pressures on the heroines presented in these cinematic works to Juliet Dusinberre’s description of the subsuming of women in academia into “he” and her anxiety under mainstream criticism. The paper underscores the interconnection between Shakespeare’s cultural potency and feminist Shakespeare criticism.