蒂姆·伯顿被称为好莱坞的“鬼才导演”，因其影片中独具特色的哥特风格受到美国乃至全球观众的喜爱与赞誉。 本文将从电影中的意象、主体、情节三个方面研究蒂姆·伯顿电影中的哥特元素，并试图分析出这背后所呈现的各种“矛盾”以及反映出的社会“焦虑”。 第一部分从电影意象入手，重点以《僵尸新娘》《爱丽丝梦游仙境》《科学怪狗》为例，从“自然世界”“人类世界”两种意象出发，得出同一物体在影片及现实生活中的不同象征，引出导演对于物体真实含义的怀疑及对社会现状的焦虑。 第二部分从电影主体入手，主要以《爱丽丝梦游仙境》《黑影》《僵尸新娘》为例，从怪物和女巫、青少年和成年人两类主体的研究出发，得出主体个性设置的自相矛盾，以及主体之间关系的各种冲突，反映出主观因素的不可控以及对客观世界的无力感。 第三部分从电影情节入手，主要以《剪刀手爱德华》《文森特》《断头谷》为例，将温情的异度空间与冰冷的现实社会进行对比，得出蒂姆·伯顿借用哥特元素反映出当下社会的种种矛盾。并分析出“哥特”生命力得以延续的关键要素，为同类型电影取得市场成功提供借鉴。

Tim Burton’ film has been globally awarded and honored, his film is full of Gothic style. This article will focuses on the gothic components of his film from following several aspects, holding that the Gothic elements in images, characters and plots of his film reflect anxieties and contradictions respectively. On the layer of images, take Corp Bride, Alice in Wonderland, Frankenweenie for instance, there are two difference meaning in an object would actually cast doubt as to its genuineness. On the layer of characters, take Corp Bride, Alice in Wonderland, Dark Shadows for instance, characters’ personalities are all contradict themselves and therelationship are paradoxical. These setting reflect the helplessness of controllable subjective factor and objective reality. On the layer of plots, Tim Burton makes the narration full of eccentric crafty and absurd. We can notice his excellent practice and remarkable artistic features. On the other hand, these elements reflects the growing bitterness of the dispute in society. This successful work is testified that gothic be able to continue.