加拿大導演大衛˙柯能堡的電影主要描寫受科技影響而突變的人體，因而被歸類為身體驚悚。這些科技化身體的滅亡往往被評論家解讀為科技的恐懼。此外，對柯能堡的評論常分為兩派：一派側重其加拿大國籍的討論，另一派則將柯能堡的電影歸類為恐怖片的類型，採精神分析及女性主義理論分析之。秉持二元觀點的假設，諸如「壓抑/壓抑歸返」及「被閹割的男性/可怖的女性」，評論家視科技化身體為無法復原且與文明對立的怪獸，而柯能堡本人則因其呈現女性意象的方式，被視為仇恨女人者。
本論文認為柯能堡符合德勒茲及瓜達里所論之「在地絕對」，其電影行銷全球的同時仍保有其加拿大國籍意識。本論文亦引用德勒茲及瓜達里的其他概念，如「無器官身體」及「流變」，來分析《錄影帶謀殺案》及《X接觸：來自異世界》中的科技化身體。德勒茲及瓜達里的理論能夠凸顯科技化身體關於性別及權力關係等面向，而這些是精神分析及女性主義理論中的二元觀點所未能觸及的。藉由關照科技化身體的慾望生產，本論文說明柯能堡對科技的態度並非科技恐懼也非科技戀物癖，而是複雜且含混的。
本研究共分四章。第一章緒論探討柯能堡與加拿大電影及恐怖片文類的關係，並回顧了對柯能堡採精神分析及女性主義觀點的評論。第二章回顧了對《錄影帶謀殺案》的評論，並就影像、性別、權力及主體性等面向來分析該部電影。第三章主要以德勒茲及瓜達里的「無器官身體」概念來分析《X接觸：來自異世界》一片中最常被討論的三個面向：對虛擬實境的呈現、科技對性所帶來的變革、以及影片中疾病及死亡的主題。第四章結論總結柯能堡與德勒茲思想的異同，並探討柯能堡的科技想像對現代科技的反思。

David Cronenberg is a Canadian film director whose films are categorized as “body horror,” highlighting the mutated human bodies transformed by technology. Critics mainly interpret the destruction of the technological body in Cronenberg’s films as technophobia. On the other hand, criticisms of Cronenberg are often divided into two camps: one is to highlight his Canadian identity, and the other is to contextualize Cronenberg in the horror genre, employing psychoanalytical and feminist theories to discuss his films. Drawing on theories based on the binary presumptions such as “repressed/the return of the repressed” and “castrated male/ monstrous-feminine,” they view Cronenberg’s technological body as irrecoverable monster against civilization. And in this regard, Cronenberg is criticized as a misogynist for his use of female imagery.
The thesis attempts to affirm Cronenberg as what Deleuze and Guattari call the “local absolute,” contending that he still maintains his Canadian consciousness even if his films are marketed globally. The thesis also applies Deleuze and Guattari’s critical concepts of the body without organs and becoming in analyzing the technological bodies in Videodrome and eXistenZ. The reason for employing Deleuze and Guattari’s concepts is that they illuminate the aspects of Cronenberg’s technological body in relation to gender and power relationship, which are largely ignored under the binary presumption of psychoanalytical and feminist theories. By attending to the desiring production of Cronenberg’s technological body, the thesis shows that Cronenberg’s view of technology leans neither to technophobia nor to technophilia, but is rather complex and ambiguous.
This thesis therefore has four chapters. The Introduction examines Cronenberg in relation to the Canadian cinema and contextualizes Cronenberg in the horror genre, reviewing criticisms of him in relation to psychoanalytical and gendered theories. Chapter Two, “Videodrome,” reviews essays on Videodrome and draws on Deleuze and Guattari’s concepts to analyze the film with respect to image, gender, power and subjectivity. Chapter Three, “eXistenZ,” mainly draw on Deleuze and Guattari’s concept of the body without organs to discuss three aspects of the film that critics tend to highlight: its figuration of virtual reality, sexual economy brought about by technology, with the disease and death motifs in the film. Chapter Four, “Conclusion,” recaps the similarities between Cronenberg and Deleuze, and concludes Cronenberg’s technological imagination in relation to the technology in our times.

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