This paper looks at female homosocial relationships, that is to say, the social bonds between women, by considering the meaning of the fact that the Takarazuka Revue is performed exclusively by women for fans who are mostly women as well.
　In male-dominated society where heterosexuality is compulsory, relations between women are either persecuted as homosexual relationships that go against heterosexuality, or they are perceived to be inferior to heterosexual relationships and regarded as trivial. Therefore, it is difficult to find representations of strong female homosocial bonds in society. To enable female homosociality, the influence of heterosexuality must be controlled.
　In the case of 'Takarazuka', there are two worlds of stories. One world is the stage, where the stories of love between women and men and of male friendship without sexual desire are played by "otoko-yaku" playing male roles and "musume-yaku" playing female roles who neither have sexual bodies. The other world is the backstage sphere open to fans through the media, where friendships within the 'Takarazuka' company are emphasized within the framework of a girls school in which students are exempted from any of the obligations of heterosexuality. So, 'Takarazuka' performers known as 'Takara-siennes' have two faces. First, they are the "otoko-yaku" and "musume-yaku" on stage, and second, they are "students" in the backstage sphere, girls who are indifferent to heterosexuality. By superimposing the backstage sphere on the world on stage, through 'Takara-siennes' who have duplicity, fans of 'Takarazuka' can read the bonds of the performers backstage into heterosexual relations and the relations between the men they play on stage. Therefore, 'Takarazuka' becomes an unusual sphere in which it is possible to have a realistic sense of female homosociality. 'Takarazuka' shows us both the possibility of the representation of female homosociality, and the difficulty of representing it in elsewhere in the contemporary society.

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【要旨】
 リンダ・ウィリアムズが2000年に発表した「規律訓練と楽しみ――『サイコ』とポストモダン映画（“Discipline and Fun: Psycho and Postmodern Cinema”）」は、ミシェル・フーコーによる「規律訓練（discipline）」の概念を援用しながら『サイコ』（Psycho, 1960）における観客の身体反応の意義を考察した画期的な論考であり、同作品の研究に新たな一石を投じた。ウィリアムズによれば、公開当時の観客はヒッチコックが定めた「途中入場禁止」という独自のルールに自発的に従うことで物語に対する期待を高め、結果的にこの映画がもたらす恐怖を「楽しみ（fun）」として享受していた。
 しかし、『サイコ』の要である「シャワーシーン」に対しては、怒りや拒絶などといった否定的な反応も数多く証言されているように、その衝撃の度合いや効果の実態については、さらに綿密な検証を行っていく必要がある。本稿はこうした前提の下、シャワーシーンの衝撃を生み出した複数の要因のうち、従来そうした観点からは着目されてこなかったヒッチコックのテレビ番組『ヒッチコック劇場』（Alfred Hitchcock Presents, 1955-62）が果たした役割について論じていく。これにより、先行研究においては漠然と結びつけられていた『サイコ』と『ヒッチコック劇場』の関係を、視聴者／観客の視点からより厳密に捉え直すとともに、シャワーシーンの衝撃に大きく貢献した『サイコ』の宣伝手法（予告編、新聞広告）の意義をあらためて明確にすることが本稿の目的である。

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