| ACKNOWLEDGEMENTS | 第5-6页 |
| ABSTRACT | 第6-7页 |
| 摘要 | 第8-11页 |
| LIST OF ABBREVIATIONS | 第11-12页 |
| CHAPTER ONE INTRODUCTION | 第12-29页 |
| 1.1 Background of Research | 第12-14页 |
| 1.2 A Brief Review of Relevant Literature | 第14-16页 |
| 1.3 Thesis Statement and Research Questions | 第16-17页 |
| 1.4 Rationale and Significance of the Research | 第17-21页 |
| 1.5 Theoretical Framework and Thesis Structure | 第21-29页 |
| CHAPTER TWO REPLICANTS AS SUBJECTS IN BR | 第29-49页 |
| 2.1 A Zizekian definition of Subjectivity | 第29-31页 |
| 2.2 BR as a Film about Subjectivity | 第31-36页 |
| 2.3 The Paradox of Self-Consciousness | 第36-40页 |
| 2.4 The Nostalgic Subject | 第40-45页 |
| 2.5 Subject as Vanishing Mediator | 第45-49页 |
| CHAPTER THREE TRACING SUBJECTIVITY IN BR | 第49-72页 |
| 3.1 The Claustrophobic and Paranoid Post-Industrial World | 第49-54页 |
| 3.2 Dr. Tyrell as the Obscene Father | 第54-58页 |
| 3.3 Non-existent Big Other | 第58-66页 |
| 3.4 The Significance of Subjectivity | 第66-72页 |
| CHAPTOR FOUR CONCLUSION | 第72-76页 |
| WORKS CITED | 第76-77页 |
