本文以電影《悲慘世界》的文本為分析，試從社會學的想像、權力與知識的宰制、冰山隱喻下的自我等面向切入分析：作者擬由尚萬強背負罪犯的枷鎖，巡官賈維長期緝拿的階級傲慢為主軸，探討被簡化後的律法、歧視與集體偏見的社會，以及權力關係中的界線；試圖檢視社會真實與假象的盔甲、觸碰善惡與權力的本質，以古喻今。在以電影劇情分析時，除將電影內的對話及場景，與文獻理論進行對照外，並透過敘事形式解讀影片內時間、空間、象徵、邏輯與觀點，將電影中豐富的訊息，運用歸納法逐步抽絲剝繭取出其核心概念，以詮釋電影文本意識，並將特別強調情境脈絡的解讀，得以了解其真正的社會意義。全文分三個層面：一、探討以律法之名所形塑的社會規章、監禁與暴力；二、從「自我的解構與再建構」反思社會情境脈絡；三、重新觀看現實社會中階級的偏見與對待。準此，本研究目的分為：1.透過電影反射現實，思考社會中無處不在的偏見及對權力的傲慢。2.由電影檢視社會真實與假象的盔甲，思維不滅的善惡與權力本質。3.藉由電影人物與其社會背景，探討權力關係中的界線與意識形態。

With the film Les Misérables as the backbone, and in terms of the dominance of imagination, power and knowledge in sociology and the self in a Personal Iceberg Metaphor: Jean Valjean’s shackles of crime and the social class pride of Inspector Javer chasing after Valjean for a long-time, this paper explores the law after simplification, a society with discrimination and collective prejudice, and the boundary in power relations, in an attempt to review the armor of reality and illusion, the touch of good and evil, and the nature of power for the reference of the world today. While analyzing the film’s plot, apart from cross-examining the dialogues and scenes in the film with theories in relevant literature, I have analyzed the time, space, image, logic and perspective in the film with the narrative approach and progressively extracted their core concepts with inductive reasoning in order to interpret the textual consciousness of the film, with special emphasis on the interpretation of context to discern its true social significance. I have organized this paper in three levels: (a) social codes, prison and violence shaped in the name of law; (b) a retrospection of social context in terms of “the deconstruction and reconstruction of self”; and (c) a re-view of the social class prejudice and treatment in reality. Hence, the objectives of this research include: (a) to reflect reality and consider the omnipresent prejudice in society and the pride of power through the film; (b) By unveiling the reality and fakeness in society through movies, the essence of power and ever-lasting good and evil is reconsidered. (c) Through the characters and their social backgrounds in movies, the boundary and the ideology of power relations is discussed.