本論文以文本分析為研究方法，以公視文學劇《畫魂》為研究對象，分別從影像美學、人物造型及劇情對白三方面，對劇中男女角色之形象、權力關係及社會性別建構進行分析。本論文以影像美學、敘事理論、精神分析、女性主義等理論觀點與文本分析方法，解構這齣文學劇的性別意涵。研究結果可歸納為三部分，第一部份為人物造型所再現之男女角色形象。第二部分為影像美學所再現之男女角色形象與權力關係。第三部分為劇情內容分析。從研究結果中發現，被塑造為強者形象的傳統男性，表面上是父權體制的受益者，實際上卻也是僵化父權體制下的受害者，在享受受益者特權的同時，卻為特權表面的假象而付出更高的代價。而傳統女性表面上看來堅守婦德、麻木不仁，事實上她們卻透過不同的反抗策略，保有自身最終勝利者的位置。女性反抗的對象並非是男性而是社會文化背後的父權意識形態，只不過這種反抗策略並不能為女性帶來真正解脫，只是在無形之中更加強大與鞏固父權意識形態罷了。
This paper adopts textual analysis, taking 《Painting Soul》-a literature drama of Public Broadcasting System- as research case. It analyzes gender images, power relationships and social constructions of gender with three dimensions including visual aesthetics, characters, and dialogues. Based on the theoretical perspectives of visual aesthetics, narration theory, psychoanalysis, and feminism, this research demonstrates sexuality in the literature drama.The research results could be concluded to three parts: gender images the characters represented, gender images and power relationships aesthetically represented, and plots analysis. It shows that, males in traditional society were often portrayed dominant, nevertheless, he could be a victim in the patriarchal system and pays the higher price to maintain his privilege. On the contrary, the female in traditional society keeps her role expectation, and seems to manage to have developed several resistant strategies. Yet resistant strategies proposed by the female might not set her free, but strengthen the control of patriarchal ideology.
