Abstract:Quentin Tarantino's monumental epic Kill Bill is more than a formal tour de force, or cinematic "eye-candy." Underlying the deadly love story between Bill and the much younger Beatrix Kiddo is a story of incestuous desires and their violent consequences. The sword-wielding Beatrix is likened to Judith, the hero of the Apocrypha, and Freud's interpretation of that story, which is seen as both the virgin's revenge against her "defloration" as well as the daughter's ambivalence towards the father whose love must be denied, is key to understanding the deeper meanings of the film. This essay on "Oedipal Echo-Effects in Kill Bill I/II" examines this and other ways that the film's latent meaning, like the opening song (Bang Bang My Baby Shot Me Down) that echoes throughout the film, is based on childhood, infantile desires.

中文翻译：

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朱迪思和碧翠丝：杀死比尔中的俄狄浦斯回声效应

摘要：昆汀·塔伦蒂诺 (Quentin Tarantino) 的不朽史诗《杀死比尔》(Kill Bill) 不仅仅是一场正式的巡回演出，也不仅仅是电影中的“吸睛之作”。比尔和年轻得多的碧翠丝·基多之间致命的爱情故事背后是乱伦欲望及其暴力后果的故事。手持宝剑的贝娅特丽克丝被比作伪经中的英雄朱迪思，以及弗洛伊德对那个故事的解释，既是处女对她“摘花”的报复，也是女儿对必须拒绝爱的父亲的矛盾心理，是理解电影更深层含义的关键。这篇关于“杀死比尔 I/II 中的俄狄浦斯回声效应”的文章探讨了这部电影的潜在意义，比如在整部电影中回荡的开场歌曲 (Bang Bang My Baby Shot Me Down)，