本論文試圖闡釋金髮美女和恐怖片從好萊塢電影到電視影集的轉化關係。透 過閱讀影集《魔法奇兵》和《暗夜天使》三位金髮女性角色，我的論證強調金髮美女擁有拯救自我的潛力，甚至願意面對心中的恐懼，所以在恐怖片中不一定會 慘遭怪獸或殺人魔的毒手。由此，性別偏見正突顯好萊塢恐怖片中的父權主宰問題；從影集中，我發現教育、法律、和家庭三者意識形態國家機器對三位金髮女 性角色形成強力威脅，因此我對於權力的合法性感到質疑。再者，就這三位女性角色分別身為吸血鬼獵魔士，警官，和吸血鬼母親看來，她們的職業勾勒出女性 在性別角色上的衝突，而這樣的衝突更同時讓她們對「信念」及「責任」有所存疑。在尋求自主性的過程中，她們一方面渴求生存，另一方面她們更期望獲得「救贖」。

The thesis aims to illuminate the transforming relationship between blondes and the horror genre from Hollywood movies to television series. Through reading three blonde characters in Buffy the Vampire Slayer and Angel, I argue that blondes do not necessarily have to comply with the formula of becoming monsters or killers'' targets in the horror genre because they have the potential to rescue themselves and even confront their fear. The issue of
gender-bias problematizes the patriarchal
domination in the production of the Hollywood horror. Therefore,my readings of the authorities are situated on an analytical frame of
questioning the validity of the educational,
legal and family ideological state apparatuses, which formulate the menace to the three blonde characters in the series. From their roles as a vampire slayer, a police officer and a vampire mother, the conflicting nature of their gendered identities simultaneously raises the doubts of their dedication to their belief and
responsibilities. Finally,they aspire to find the meanings of their existence in quest of autonomy because what they are hoping for is redemption.

Contents
Abstract I
Acknowledgements III
Chapter One: Introduction 1
Chapter Two: Redefinition of the Blonde in the Horror Genre: Sarah Michelle Gellar''s Portrayal as Buffy 10
Chapter Three: Why do We Fight?: Kate Lockley''s Quest of Faith in Angel 28
Chapter Four: The Bitch is Back!: Darla''s Redemption and the Soap Style in Angel 46
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