本文認為動物是一種文化現象，其透由文化場域的表意實踐過程而被賦予意義，使我們「看見」各種動物的意涵並塑造出我們對牠們的感覺和行為，而動物電影就是現代社會實踐動物表意的重要文化場域。因此，本文以類型研究分析動物電影文本中所再現的動物形象，並援引動物倫理思潮來詮釋人們如何建構動物的意義及其背後所隱含人與動物的權力關係。本文發現，災難片類動物電影站在「無地位理論」，誇張化了肉食動物的食人形象，並將食人動物塑造成殘暴的奪命機器，複製了隱藏在人類自居於萬物之靈背後的權力運作；劇情片類動物電影則是「地位平等觀」立場，將寵物和非寵物塑造成填補人類心靈空缺、刺激我們心靈成長，且以朋友、家人、心靈導師等多重身份而具情感療癒作用的守護者，雖然提昇了動物的地位和價值，但仍隱含了人與動物間理性（高等）vs.感性（次等）的不平等權力關係；紀錄片類動物電影呈現了兩種動物形象，一是以「分級理論」概念，視極地動物為引發人類反省與思考的堅強生命力，翻轉了「感官」「野性」原處於邊陲的權力位階，一是在「平等考慮理論」立場，揭露了經濟動物是任人宰割的盤中飧，消解了人類以理性文明自居而將野性殘暴配予動物的二元對立結構。 This study analyzes the represented animal images in texts of animal movies. Upon the trend of thought of animal ethics, this study interprets people’s construction of meanings of animals and the implied power relationship between humans and animals. This study finds that animal movies of disaster films are based on “no status theory”. They exaggerate the man-eating image of carnivores and treat them as cruel deadly machines. Animal movies of feature films are based on “equal status view”. Pets and non-pets are spiritual comfort for human beings and they stimulate our spiritual growth. They play the roles as friends, families and soul masters as affective comfort. Animal movies of documentary present two kinds of animal images. One is upon “split level theory” and the polar animals are regarded as the strong lives for human beings’reflection and thinking. The other is based on “equal consideration theory” and it shows that economic animals are the doomed food.
