《雙重賠償》《浴室情殺案》| 女性是如何被妖魔化的

社會期待女性是弱小的、永遠處於被害位置的，當一個女性違背社會期待、表現出侵略性時，就會把人們對這種侵略性的恐懼增加到比平時更深的程度，這就是女性反派作為驚悚元素取得成功的邏輯。《浴室情殺案》的原著裡，兩位女主角是一對同性戀人，而笑到最後的，則是她們當中偏向女子性別氣質的那位。

本期电影

“Boileau-Narcejac characters typically have character traits which make them susceptible and vulnerable, and they find themselves in situations under pressure. The more they resist, the greater the pressure, and the more inevitable their eventual fate. The situation in question may take the reader into the realms of the fantastic or supernatural before a final twist reveals the workings of some criminal machination. By which time it may be too late for the victim, and the reader should have been drawn into a climate of unease, disorientation, and angst. This is a constant in Boileau-Narcejac’s work, a formula which realizes suspense through the rhythmic combination of retention and release.”（Crime scenes: detective narratives in European culture since 1945. Mullen, Anne, O'Beirne, Emer. Amsterdam: Rodopi. 2000. p. 49. ISBN 9042012331.）
（布瓦洛·納爾采亞克的角色通常具有易受傷害或攻擊的體質，他們發現自己處於壓力之下。他們抵抗得越多，壓力就越大，最終命運就越不可避免。這種情況可能會把讀者帶入幻想或超自然（圖 1）的領域，直到犯罪機制被最後一個反轉揭露出來。那時對受害者而言恐怕為之過晚，而讀者則早已沉陷於一種不安，迷失和焦慮的氛圍。在一張一弛的節律性混合中實現懸念，這項公式在布瓦洛·納爾采亞克的作品中一以貫之。——作者譯）