本文选取了中国电影发展百余年来的一个片景，即上个世纪八十年代以来的中国电影，以凸显“中国形象”在不同电影叙事图景中的显现与隐退之间所形成的一种隐喻性张力。同时通过在后现代语境中对电影产业的研究，探讨“中国形象”在其中是如何变成了没有指意能力或指意含混的平面的消费符号。从电影文化批判的角度去审视“中国形象”在当代电影创作中的意义生产状况，将“中国形象”的合法的作者功能的挪用重新导入发声的方向。在此基础上上升于民族话语权和中国传统文化价值的输出的意义和策略。中国电影长期以来被区分为三种主要表现形态：即商业电影、主旋律电影和艺术电影。这三种电影在各自的话语体系中在制作方式、赢利模式、表述策略上都有着较大的区别，同时其所表达的价值观念，也因其主要目的不同，选取或建构了不同内涵的中国形象，其中主要包括带有强烈国家意志的主旋律国家形象，为拓展海内外电影市场的平面化和商品化的中国形象以及为获取西方价值认同的“自我镜像”式的中国形象，使中国电影中的国家形象和价值取向没有形成共同信守和具有普世价值的价值观。而如何实现中国电影中民族价值观的整合和普世文化的提炼和传播，在全球文化传播体系中维护本土话语权，将是本文论述的主要目的。本文主体主要分为三个部分：第一部分主要分析作为官方对国家形象塑造的文化手段的中国主旋律电影，是如何承担着国家形象的对内建构强化和对外宣传的双重功能。中国形象置于不同题材的主旋律电影是如何被建构，发挥怎样的历史作用，及其传播效果的分析。第二部分以中国第五代电影为代表的艺术电影为讨论对象，解读后殖民主义语境下中国艺术电影的自我形象呈现。从各个层面分析作为神秘“他者”的中国形象是如何在电影文本中完成西方对其的想象和自我建构。第三部分分析在全球商业化浪潮的冲击下，中国商业电影中符号化和商品化的中国形象是如何作为消费品进入文化产业的流通领域。大众流行文化下草根文化的兴起之际，中国形象如何进入民间视角和叙事。并探讨中国电影呈现的中国形象的实质内涵，如何全球化语境下进行重构和普世价值观的输出，实现中西文化的平等对话。

This paper selects the Chinese films of the past 100 years development, i.e. a piece scene since the 1980's to highlight the metaphorical tension from "the image of China" in different movie narrative between the appeared pictured and the retirement one. At the same time ,the paper study the film industry in the postmodern context, discuss how the "the image of China" become plane consumption symbols with meaning or no significance. From the Angle of movie cultural critique to look at "the image of China" in contemporary film creation production condition, the meaning of "the image of China" lawful author function of the voice to import misappropriation of direction. Through study, we can rise the output value and significance of the Chinese traditional cultural.Chinese film has been divided into three main forms in long time: commercial movies, thematic film and art cinema. These three movies have considerable distinction in production mode, profit pattern, expression strategy respectively. Meanwhile, because of its different purpose, the value or the image that the movie choose is different, including the theme of the will of the state with a strong image of the state, to extend everywhere in the film market of the image of China and commercialization complications for western values and the identity of "self image" type of Chinese image, so that the Chinese movie image of the state and value orientation have no universal value of values. And the main purpose of this paper is to study how to realize the integration of ethnic values in the movie, how to refine and disseminate a universal culture, how to maintain indigenous discourse in local dissemination system.This paper mainly divided into three parts: The first part analysis the thematic movies which is an official for the state image of Chinese cultural means , and how to bear the image of the state's internal construction foreign propaganda aggrandizement and dual function. How the image of China in different facets of thematic movie is be constructed. And analysis the communication effect.The second part analysis the Chinese fifth-generation film, as a representative of the art film for discussion of object, understanding of the post-colonialism context of Chinese art film self-image appear.The third part analysis China's commercial movies to encode and commercialization in how the image of China as a consumer goods into the circulation field of cultural industry in global commercial tide. Analysis how the image of China enter the view and narrative in the rise of grassroots culture of the mass popular culture.And explore the actual connotation of the image of China in Chinese movie , and how to reconstruct the output of the of the equal dialogue between Chinese and western culture in the context of globalization.