本文运用拉康镜像理论分析美国电影《卡波特》。影片中主人公卡波特建构了两个截然不同的“自我”:一个是在社交场合性取向“正常”的成功人士,另一个则是备受屈辱与不幸的罪犯佩里。这两个小他者之间的对抗与冲突以前者消灭后者告终,影片这一结局揭示了主体的虚幻性,以及大他者在自我构建中至高无上的地位。 This article uses Lacanian mirror theory to analyze the American film Capote. The protagonist Capotek constructs two very different “self”: one successful person who is “normal” in sexual orientation on social occasions, and the other is Perry, a humiliating and unfortunate offender. The confrontation and conflict between the two lesser ends with the former annihilating the latter. The ending of the film reveals the illusory nature of the subject and the supremacy of the Great Others in self-construction.