本研究對象為針對《控制》文本的論述，涵蓋對大衛•芬奇執導的電影文本(2014)及吉莉安•弗琳的原著小說文本(2012)所分析的論述。在對《控制》的論述中，本研究發現從大眾流行文化的影評人到學術研究的評論家及學者們對此一組文本的評論涵蓋甚廣，本研究將其概分為: 電影技術層面(影像、音效等)及文本敘事內容所反映的文化現狀及價值觀，其中針對女主角艾咪性格的評論甚至形成對《控制》中性別政治的光譜與對立觀點。自《控制》電影上映後，艾咪的女性主體性成為了閱聽眾所熱議的話題，有些影評人亦將《控制》電影技術的分析作為評論文本敘事及艾咪女性主體性的支持論點。故，本研究試圖爬梳對於《控制》文本的論述，說明對於閱讀艾咪女性主體性的評論背後，《控制》如何作為反映當代資本發展階段的文化政治及論述的場域。
在第一章，本研究以心理學專家(教授、臨床心理師、治療師及諮商師)從艾咪個人行為及行動的不合理性作說明，此一論述主要是對艾咪精神狀態的診斷。另外，第一章中，本研究歸納的 “女性主義”論述為針對艾咪女性主體性的論述做歸納，為針對社會性別規範、性別迷思以及父權主義的批判論述，其觀點主要支持艾咪行為的合理性及反抗。在第一章的兩個論述呈現了對性別政治的矛盾立場，聚焦在非艾咪即社會的單向威脅的微觀政治中。
然而，對於當代小說《控制》文本的閱讀，本研究在第二章將涵蓋巨觀政治經濟條件背景的論述歸納為 “新自由主義”論述，此路徑共同指出《控制》文本中所反映1970年代後國際經濟政策的轉變及隨之而來的經濟困境的當代條件對文本敘事軸線的影響。第二章的論述以宏觀的經濟政治角度切入對《控制》的閱讀，除了是破除前一章的性別政治的角力外，亦是指出了《控制》中個體在資本文化下的生物政治。
不過，作為台灣的閱聽人，本研究更企圖指出對於《控制》的閱讀不應忽略其本質作為英美小說所反映全球文化的限制。第三章本研究結論以南西•阿姆斯壯及加亞特里•斯皮瓦克的理論欲再度回應第一章與第二章的論述，提出對於《控制》的閱讀不可忽略世界金融體系中美金作為強勢貨幣對全球經濟的影響，美國所扮演的經濟帝國角色以及全球資本歷史脈絡的回溯對閱讀《控制》因此至關重要。因此，本研究認為《控制》及《控制》的論述強化新帝國主義反映資本文化的框架。如果以忽略歷史及地理政治的方式閱讀《控制》反映的資本文化亦將只能看見文本所反映美國資本文化的特定性和形成對當代全球資本文化想像的侷限性。

The analysis object of this thesis are the criticisms of Gone Girl texts, including the criticisms of film version directed by David Fincher and the original novel written by Gillian Flynn (2012). In the criticisms of Gone Girl, this thesis regards the topics are widely covered from the popular culture by reviewers to the academic researches by the critics and scholars, so this thesis briefly divide the criticisms as two parts: the film technologies (images and soundtracks etc.) and the refracted cultures and values in the content of the texts, especially the criticisms on the main female protagonist, Amy, brings the spectrum of the gender politics between the opposite sides. Since the releasing of Gone Girl film, Amy’s female subjectivity has become a hot topic for the audiences and some critics even take the analysis on the film technologies as the supports to the narrations of the texts and Amy’s subjectivity. Thus, this thesis is aiming to explore the criticisms of Gone Girl, explaining how the Gone Girl as the discourses field with the refracted culture of the modern capitalism, how the criticisms of Gone Girl form the cultural politics instead of the female subjectivity merely.
In chapter one, this thesis conclude the “psychology” discourse from the critics in the psychological profession (professors, clinical psychologist, therapist and consulters), their arguments focus on Amy’s personal behaviors, irrational actions and contribute to have the diagnosis on Amy’s mental conditions. On the other hand, the “feminism” discourse also concluded in the chapter one, focusing on the social norms, gender myths, Amy’s oppressed situation of Amy from the patriarchy society, and especially to supports Amy’s rationality to being rebel. In the chapter one, the “psychology” and “feminism” discourses show the conflicting positions of the gender governess and form a perspective of a micro-economic politics either from Amy or from social culture.
However, to read the modern novel Gone Girl, this thesis conclude the criticisms with the macro-economic background as “neoliberal” discourse because of their viewpoints on the refracted culture in Gone Girl that shows the culture changed after the economic strategies after 1970s, and how this economic recessions as the condition of the story plot. From a macro-economic approach to read Gone Girl in chapter two, which is also the re-examination to the gender politics in chapter one and also point out individual’s bio-politics under the capitalism culture in Gone Girl.
Yet, as a Taiwanese audience, this thesis is even attempts to assert the reading of Gone Girl cannot ignore its essence of the Anglophone novel and restrict the refracted cosmopolitan culture in the modern capitalism stage. In chapter three, this thesis based on Nancy Armstrong and Gayatri C. Spivak’s theories to re-examine the criticisms in chapter one and two, proposing reading Gone Girl cannot ignore how the U.S dollar as the hard currency in the global financial system and affect the world economy; therefore, realizing U.S’ economic role as an imperial and tracing the historical context of the global capitalism matter to the reading of Gone Girl. Thus, this thesis regards Gone Girl and the criticisms of Gone Girl firm the frame of the refracted culture of the neo-capitalism. If ignore the historical and geopolitics perspectives to read the refracted culture in Gone Girl, there will be the specificity of American’s capitalism culture and the limited boundary to the imagination of the cosmopolitan capitalism culture.

Works Cited
(1) Online News
Cox, David. “Gone Girl revamps gender stereotypes – for the worse”. Online Posting. 6 Oct. 2014. The Guardian News.
<https://www.theguardian.com/film/filmblog/2014/oct/06/gone-girl-female-stereotype-women>.

Fat Vox. Reference to the Economy in Gone Girl by Gillian Flynn. Posting Online.24 December, 2013. FatVox.com Website.
< https://fatvox.com/reference-to-the-economy-in-gone-girl-by-gillian-flynn/>.

Gilmore, James N. On Gone Girl’s Margins and the Dissonance of Economic Crisis Posing Online.13 October, 2014. Mediascape Journal (UCLA’s Journal of Cinema and Media Studies).
<http://www.tft.ucla.edu/mediascape/blog/on-gone-girls-margins-and-the-dissonance-of-economic-crisis/>.

Miller, Anna Medaris. “What 'Gone Girl' Does (and Doesn't) Tell Us About Mental
Illness”. Online Posting. 27 Oct. 2014. U.S. News.
<https://health.usnews.com/health-news/health-wellness/articles/2014/10/27/what-gone-girl-does-and-doesnt-tell-us-about-mental-illness>.

Olson, Mitchell. “Amy Elliott ‘Gone Girl’ Diagnosis”. Online posting. 9 May. 2017. Mindfully Healing. < https://mindfullyhealing.com/amy-elliott-gone-girl-diagnosis/>.
Rosenberg, Alyssa. Is ‘Gone Girl’s Amy a misogynist? A misandrist? Or both?.
3 October, 2014. Online Posting. The Washington Post.
https://www.washingtonpost.com/news/act-four/wp/2014/10/03/is-gone-girls-amy-a-misogynist-a-misandrist-or-both/

Rothman, Joshua. What “Gone Girl” Is Really About. Online Posting. 8 October, 2014. The New Yorker. < https://www.newyorker.com/books/joshua-rothman/gone-girl-really>.

VanDerWerff, Emily Todd. ‘Gone Girl’ is the most feminist mainstream movie in years. Online Posting. 6 Oct, 2014. Vox Media
< https://www.vox.com/2014/10/6/6905475/gone-girl-feminist-movie-david-fincher>.

Wood, Michael. At the Movies: ‘Gone Girl’. Online Posting. 23 Oct, 2014. London Review of Books. < https://www.lrb.co.uk/v36/n20/michael-wood/at-the-movies>.

(2) Interviews
Campbell, Wiliam Keith. Interviewed by Lauren Duca. “A Psychiatrist Weighs In On Amy & Nick in ‘Gone Girl’”. Online Posting. 3 Oct. 2014. Huffpost.
< https://www.huffpost.com/entry/amy-gone-girl-psychiatrist_n_5922842>.

Flynn, Gillian. Interviewed by Nancy Farghalli. Gillian Flynn on the economics behind ‘Gone Girl’. Online Posting. 2 June, 2014. Marketplace Radio Program. <https://www.marketplace.org/2014/06/02/gillian-flynn-economics-behind-gone-girl/>.

Puri, Paul. Interviewed by Lauren Duca. “A Psychiatrist Weighs In On Amy & Nick in ‘Gone Girl’”. Online Posting. 3 Oct. 2014. Huffpost.
< https://www.huffpost.com/entry/amy-gone-girl-psychiatrist_n_5922842>.

(3) Academic Theses
Li, Chia-Yu. “A Study of the Evil Movies: with Examples of SAKURAN, Gone Girl, ELLE and The Beguiled.” Diss. National Taiwan University of Arts. 2017.

Lin, Ming-Huei. “Toying with Victimhood— The Sadomasochism in Gone Girl” Diss. University of National Chiao Tung University. 2015.

(4) Journal Articles and Books
Armstrong, Nancy. “The Contemporary Disposition of the Novel.” Continental Thought & Theory 2.3 (2019): 3-26.

Campbell, W. Keith., and Jean M. Twenge, eds. The Narcissism Epidemic: Living in the Age of Enlightment. New York: Atria Paperback, 2013. Print.

Elliott, Jane. “The Microeconomic Mode.” Neoliberalism and Contemporary Literary Culture. Ed. Huehls, Mitchum and Rachel G. Smith. Baltimore: John Hopkins University Press, 2017. 34-51.

Harvey, David. “A Brief History of Neoliberalism.” New York: Oxford University Press, 2005.

Huehls, Mitchum and Rachel G. Smith. “Four Phases of Neoliberalism and Literature: An Introduction” Neoliberalism and Contemporary Literary Culture.” Baltimore: John Hopkins University Press. 2017. 1-18
Marston, Kendra. “Paranoid Attachments to Suburban Dreams: Reading Pathological Femininity in Gone Girl and The Girl on the Train.” Postfeminist Whiteness Problematising Melancholic Burden in Contemporary Hollywood. Edinburgh: Edinburgh University Press, 2018. 111-132.
Rottenberg, Catherine. “The Rise of Neoliberal Feminism.” New York: Oxford of University Press. 2018.

Johansen, Emily. “The Neoliberal Gothic: Gone Girl, Broken Harbor, and the Terror of Everyday Life.” Contemporary Literature 57.1 (2016): 30-55.
Spivak, Gayatri Chakravorty. “Three Women’s Texts and a Critique of Imperialism. ” Chicago Journals 12.1 (2012): 243-261.
Spivak, Gayatri Chakravorty. A Critique of Postcolonial Reason: Toward a History of the Vanishing Present. 2nd ed. Cambridge: Harvard University Press, 1999.