本文透過拉岡的鏡像三階段理論，檢視動畫《神隱少女》中無臉男的自我認同三階段的發展；其次，再從拉岡理論的骨幹──主體三層結構說，依照想像界、象徵界、真實界三個向度，分析無臉男內在心靈與外在世界之間的三環關係。分析結果如下：在「自我認同三階段」裡，無臉男先從自己終於被千尋看見的那一刻開始，感受到自己原來有存在感；再從千尋、僕人對他的互動，產生自作多情與跋扈的自我誤認；接著，在千尋屢次堅定的拒絕下，無臉男明白有些事情是金錢也買不到的，因而產生理想自我的破滅；最後，透過錢婆婆的溫暖相待，讓無臉男得以找到破滅後的自我認同。而從「主體三層結構說」來看，無臉男先以「施捨者──有錢人」的理想自我自居；在外人也透過其表現的「施捨者──有錢人」象徵，與其相處；看似平衡的現實，卻失衡於「有錢有權」也得不到千尋的珍視與好感。因而，無臉男產生自我認同的創傷。兩個理論都顯示出：無臉男在追尋著「自我認同重整」的歷程。研究者期望以理論為基，建構出新的動畫閱讀視角。從細觀動畫角色在「自我認同」歷程中的破碎與重建，擴大動畫電影帶來的深度與涵義，提供賞析者與教學者的一項參考。

This paper examines the three-stage development of the No-Face 's self-identity in the animation “Spirited Away” through Lagan's three-stage mirror image theory. Secondly, from the three-layer structure of the main body, which is the backbone of Lagan's theory, according to the three dimensions of the imaginary world, the symbolic world, and the real world, it analyzes the three-ring relationship between the No-Face's inner mind and the outer world. The results of the analysis are as follows: In the “three stages of self-identification”, the No-Face first felt that he had a sense of existence from the moment he was finally seen by Chihiro. From the interaction between Chihiro and his servants, the self-confessions of self-love and domineering arise. Then, under Chihiro's repeated and firm refusal, the faceless man understands that there are some things that money can't buy, which leads to the shattering of his ideal self. Finally, through Zeniba's warm treatment, the faceless man was able to find his self-identity after being shattered. From the perspective of “theory of the three-layer structure of the main body”, the No-Face first identified himself with the ideal of “a donor—a rich man”. Outsiders also get along with them through the symbol of “donor-rich people”. The seemingly balanced reality is out of balance in the fact that the rich and powerful do not get the cherishing and favor of Chihiro. Thus, the faceless man creates the trauma of self-identification. Both theories suggest that the faceless man is in pursuit of a realignment of his identity. The researchers expect to construct a new perspective of animation reading based on theory. From the perspective of the fragmentation and reconstruction of animated characters in the process of “self-identification”, the depth and meaning brought by animated films can be expanded, providing a reference for appreciators and educators.