此篇論文先著眼於黑色電影的風格與特性，整理出黑色電影是否為類型電影的多元論述後，探討電影中的致命女郎角色的演進與變化，最後以電影〈驚世狂花〉中的致命女郎形象的突破，觀察黑色電影的懷舊元素與新穎敘事手法。以Homi Bhabha的閾限觀點陳述黑色電影本身與致命女郎目前都還處在無法明確定義的閾限空間裡。

The article firstly emphasizes on the style and characteristics of film noir as a genre, then explores the ultimate question that if film noir is a genre through multiple discourses, and finally examines the change and evolution of femme fatale characters. The primary text to deal with these questions is the film Bound, the article aims to explore the breakthrough image of femme fatale in this film, and examines its nostalgic elements and novel narratives. The concept of liminality by Homi Bhabha can be applied to interpret film noir and femme fatale, that both of them are situated in a vague and undefinable liminal space.