| ABSTRACT | 第4-5页 |
| Chapter One: Introduction | 第8-19页 |
| 1.1 An Introduction to Fifty Shades of Grey | 第8-9页 |
| 1.2 Research Background | 第9-11页 |
| 1.3 Literature Review | 第11-19页 |
| 1.3.1 Previous Review on the Film | 第11-14页 |
| 1.3.2 Foreign Studies on the Feminist Film Theory | 第14-16页 |
| 1.3.3 Domestic Studies on the Feminist Film Theory | 第16-19页 |
| Chapter Two: Feminist Film Theory | 第19-34页 |
| 2.1 An Overview of Feminist Film Theory | 第19-25页 |
| 2.1.1 Emergence of Feminist Film Theory | 第19-20页 |
| 2.1.2 Three Stages of Feminist Film Theory | 第20-25页 |
| 2.2 Mulvey’s Male Gaze Theory：Visual Pleasures and Resolutions of Castration Anxiety | 第25-32页 |
| 2.2.1 Voyeurism | 第26-28页 |
| 2.2.2 Narcissism | 第28-29页 |
| 2.2.3 Reenactment of Original Trauma | 第29-30页 |
| 2.2.4 Fetishism | 第30-32页 |
| 2.3 Summary | 第32-34页 |
| Chapter Three: Laura Mulvey’s Male Gaze in Fifty Shades of Grey | 第34-56页 |
| 3.1 Spectators’ look of Fifty Shades of Grey | 第34-44页 |
| 3.1.1 Voyeuristic Pleasure in Film | 第34-38页 |
| 3.1.2 The Active Christian and the Passive Ana | 第38-41页 |
| 3.1.3 Identification with Christian | 第41-44页 |
| 3.2 Demystifying and Fetishizing Ana | 第44-55页 |
| 3.2.1 Following Christian’s Role in Plot Development | 第44-47页 |
| 3.2.2 Deriving Pleasure from SM in the Film | 第47-50页 |
| 3.2.3 Objectifying Ana as the Spectacle | 第50-55页 |
| 3.3 Summary | 第55-56页 |
| Chapter Four: Real Spectators’ Responses to Fifty Shades of Grey | 第56-68页 |
| 4.1 Spectators’ Cinematic Responses | 第56-61页 |
| 4.1.1 Spectators’ Responses to Film Content | 第56-58页 |
| 4.1.2 Spectators’ Making Contrast between Film and Book | 第58-60页 |
| 4.1.3 Spectators’ Responses to the Performance of Actors | 第60-61页 |
| 4.2 Spectators’ Extra-Cinematic Responses | 第61-66页 |
| 4.2.1 Spectators’ Purchasing Goods | 第61-63页 |
| 4.2.2 Spectators’Attachment to Stars | 第63-64页 |
| 4.2.3 Practicing SM | 第64-66页 |
| 4.3 Summary | 第66-68页 |
| Chapter Five: Conclusion | 第68-71页 |
| Works Cited | 第71-74页 |
| Acknowledgements | 第74页 |
