李昂小說在八○年代曾受到臺灣新電影導演的青睞，《殺夫》由曾壯祥導演、《暗夜》則由但漢章導演分別拍攝成電影。本文試圖透過蘿拉‧莫薇(Laura Mulvey)〈視覺快感與敘事電影〉的論點，援引男性凝視(male gaze)的觀看，剖析李昂的女性書寫與男性導演電影改編之間的視覺性，李昂的女性小說在八○年代臺灣新電影男性導演的影像中，被如何詮釋，如何解碼(decoding)又如何演繹其性別政治？而李昂小說中的「性」議題，在電影中又是如何被闡釋？透過小說文本與電影文本之間的互文性分析，《殺夫》由文字驚悚的女性書寫，轉為電影低調的場面調度，並強調父權話語的社會框架。《暗夜》則從小說多重敘事視角，轉化為電影單線敘事，並將女性情慾置於鏡頭凝視下的客體再現。新電影男性導演雖想擺脫物化女性的影像風格，然而性別潛意識與男性鏡頭凝視下，電影改編在詮釋李昂作品時，削減女性聲音、女性意識，使得螢幕上的女性成為被凝視的客體、受虐的身體及匱缺的主體。

This study attempts to research gender issue in Li Ang's fictions and film adaptations. Beginning her writing career at the age of 16, Li Ang is known for her bold sexuality narrative and penetrating insights on gender politics in the social life in contemporary Taiwan. In 1980s, her major works the Bucher's Wife and Dark Night were published and given a rise of attention and critics. These two novels are centering on women in such topics as pubescent female psychosexuality, feminism and gender, sex and female subjectivity, women in Taiwan native culture and economy situation. They were interested by Taiwan New Cinema directors and adapted into films by Zeng Zhuang Xiang and Dan Han Chang. This research will put an effort on analyzing and comparing the literary texts and film texts. Also, both Li Ang's novels and Taiwan director's films in the politics of woman's body, which concerns sex and appearance, will be compared. Meanwhile, conservativeness of the constructed woman image and the meaning of gender will be discovered. Further, women's consciousness in female texts/male director's works and how influential woman issue can be in a male dominated industry will be argued as well.