Variations of Ideology in Chinese Underage War Films

• Main Authors: Chuan-Kai Chou, 周川凱
• Other Authors: Ru-Shou Chen
• Format: Others
• Language: zh-TW
• Published: 2008
• Online Access: http://ndltd.ncl.edu.tw/handle/erxgay

碩士 === 國立臺東大學 === 兒童文學研究所 === 97 === 　　Oftentimes, war films convey the ideology of national sovereignty. War films made for the underage are rife with ideological inculcation. The purpose of the thesis is to investigate what kinds of ideological messages are embedded within Chinese underage war films. 　　The objects of study are ten films produced before 1980. In addition to the definition of terms, historical background and theoretic expositions, this study analyzes narrative structure, storyline, and music for the first nine films. And a classical pattern can be concluded, which will be overruled by the very last one, signifying the beginning of a new era. 　　Films adopting the classical pattern use a loop-shaped narrative structure, expecting the underage to accept the idea of “nation as their home.” Seven types of characters we classified exist only for the abstract notion of the nation, which also strengthens Althusserian concept of the “reproduction of the conditions of production.” 　　However, the year 1979 witnessed the breakdown of the classical pattern in underage war films. Two issues become much more prominent than ever: the modeling of motherhood and the meaning of home. This also testifies that the abstract concept of nation, in the end, should return to the primary love of mother and home.