楊德昌的影片《牯嶺街少年殺人事件》（1991）講述殺淫婦的故事。本論文第一 部份嘗試分析影片故事的主題，即父權體制下權力與慾望的難題。第二部份探討此片自我檢 視象，結果發現，此片並未達到任何有效的自我批評，卻沈浸於對其自身結構的無止盡賞析 中。此片的結構之結構性，成為此片唯一且最重要的主題。如此，藉著將殺淫婦之舉貶為 “不若其大結構重要”，奠基於殺淫婦的整套體系再度得以自圓。

　　　　　De-Chang Yang's film, A Brighter Summer Day (1991), tells the story of the murder of an unfaithful woman. The first part of this paper tries to analyze the theme of the story told by the film, that is , the theme of the problems of power and desire under patriarchy. The second part of arriving at any valid self-criticism the film plunges itself in an unlimited indulgement in, or an unending study of, its own structure. The structuality of the film's structure becomes the theme of the film. Thus, the whole system based on the murder of the unfaithful woman is consolidated once more, this time by way of dismissing her murder as "something less important than the film's structure."