《罗斯玛丽的婴儿》是罗曼•波兰斯基的一部恐怖电影，同时也是一部具有代表性和时代特征的经典影片。影片所作于二十世纪六十年代末，彼时正值第二次女性主义浪潮期间，西方社会的政治、经济和文化都发生了极大的变化。影片频繁使用不同空间营造出对女主角不同的压迫效果，展示了女性在生育过程及日常生活中遭遇的控制、侵犯和压抑，从而一定程度上摆脱了类型的束缚。其对于女性生存景况和内心的无意识描写在一定程度上浮现出了超出电影文本层面的女性意识。而导演波兰斯基作为一名至今极具争议的男性导演，其在《罗斯玛丽的婴儿》中的这种无意识表现值得探究。

本文按照不同层面的空间形态划分对涉及的空间内容进行研究。结合列斐伏尔对空间生产的三个向度的划分，首先从物质空间切入，探究影片中涉及到的厨房、客厅、卧室、通道等实体空间在性别角度的特点。接着从精神空间的角度探索罗斯玛丽在梦境中的隐忧和不安。随后从社会空间入手，结合时代特点研究影片所反映出的当时社会的性别政治环境和对于女性的规训惩罚。

Rosemary's Baby is a horror film by Roman Polanski, it is also a classic film that is representative of the times. The film was made in the late 1960s during the second wave of feminism, a period of great political, economic and cultural change in Western society. The film uses different spaces to create different effects of oppression on Rosemary, showing the control and aggression that women encounter in the reproductive process and daily life, thus getting rid of the bondage of types to a certain extent. As a controversial male director, Polanski's unconscious performance is worth exploring.

In this paper, the spatial content involved is studied according to the spatial form division of different levels. Combined with Lefebvre's division of the three dimensions of space production, the author first starts from the material space and explores the characteristics of the kitchen, living room, bedroom and other physical spaces from the perspective of gender. Then, from the perspective of mental space, it explores the hidden worries of Rosemary in her dreams. Then, starting from the social space, combined with the characteristics of the times, the study of the gender political environment and the discipline and punishment for women reflected in the film at that time.