本論文分析三部亡命鴛鴦電影：我倆沒有明天、窮山惡水及花村，如何反映對當時六十年代反文化的批判，並且探討其如何試圖解決和統治階層和一般人民之間的矛盾困境。

This thesis analyzes three outlaw couple films of the late sixties and early seventies: Bonnie and Clyde, Badlands, and McCabe & Mrs. Miller. By doing so, it intends to contribute to the understanding of how outlaw couple films carry the sociopolitical critique to reflect the exhilarations and anxieties of its times; moreover, how they manage to resolve the quandary that they are facing in their relationship with the people and the dominant order. I argue that Bonnie and Clyde helps seal the myth of the outlaw couple by making their death into a long-lasting artwork. For the chapter on Badlands, it suggests that not only for the counterculture, but also counterrevolution are prone to become superficial consumptions of existing icons and rituals. For the chapter on McCabe & Mrs. Miller, it demonstrates the counterculture’s dilemma to destruct the System and at the same time, the distrust between the people and the countercultural rebels, which reflects the counterculture’s failure. At last, it aims to suggest their influence on later outlaw couple films in the early nineties.

Abstract
Acknowledgments
Introduction …………………………………………………………………………...1
Chapter One
Public Posturing as Stylistic Rebellion in Bonnie and Clyde….………………………………………………….……………………………8
Chapter Two
Consuming Rebellion: The Portrait of an Impersonating Outlaw in Badlands…..………………………………………………………………………….29
Chapter Three
Commercializing the West: Individualism and the People.………………………………………………………………………………..50
Conclusion …………………………………………………………………………...69
Works Cited…………………………………………………………………………..79
Filmography………………………………………………………………………….82

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