本論文以70～80年代風行於日本與台灣的黑幫電影為中心，分析電影內部的暴力慾望與其所指涉的時代意義。論文首先回溯兩地的黑幫片產生的時代背景，再以兩部作品：《仁義的墓場》與《女性的復仇》中個體對群體的抵抗意識來反思黑幫電影反撥的暴力。日本東映70年代的《無仁義的戰爭》系列將背景拉到了戰後的日本，刺激的內容很呼應日本自安保鬥爭以來社會動蕩不安的氛圍。台灣社會寫實電影也搭上了本地美麗島事件的順風車，加上眾多性感女星的加入，使黑幫電影脫離了社會寫實而進入了類似西方B級片的路線。這些電影雖都稱不上學術殿堂內所認可的好電影，但透過拉崗精神分析主體對小對件的分析後發現，唯有這樣反抗時代的暴力反撥不斷持續，維繫主體的正當性才能一直被確立。

This paper aims to deal with repulsive desire for violence in mafia films in Japan and Taiwan. This paper also examines the significance of the films in their contexts when the films were produced. Starting by elaborating on their backgrounds, two films, The Grave of Jingi (1975) and The Women's Revenge (1980) will be analyzed by narratology and Lacanian psychoanalysis.Toei company in Japan initiated the War without Jingi series in post-war Japan. The radical contents of the films congruously correspond to the fervent atmosphere in the Anti-Anpo Protest era.So-called Social Realist Films in Taiwan manifest the same situation. Most of these films were made in the early years in Taiwan's democratic movement. But with many sexy stars' participation and involvement, this genre transforms itself to mimic B films in the west.These films are never great films, but with a Lacanian approach to the object petit à, it is clear that repulsive violence in the mafia films in fact sustains and perpetuates the legitimacy of the subject (characters in films and the audience alike) consciousness living justifiably without moral misdemeanor.