以往学界对中国“谍战电影”的思考，大多集中于以“题材类型”、“叙事模式”、“人物形象”为主的电影本体理论常态视角，又多见于某段历史时期盛行的形态类别单列研究，以“间谍片”、“反特片”、“谍战片”的名义反复出现并被提及，但始终没能形成连接中国电影发展的各个历史时期，而一以贯之的“通约性”命名。 关涉中国“谍战电影”专题研究范畴，意图寻求某些适当的切入点，恰恰就在既往学术思索领域的“留白”之处，于是本文首先突破既有“类型”与“题材”等老旧理论观念指导下的思维模式，将“谍战电影”作品，视为一种宽泛的“艺术形态”，而把已有的多种类别命名归入其中，构建具有电影史学意义的概括集成。 中国“谍战电影”的研究范围，就此便得以确定，它在时间上指向20世纪30年代至今的“阶段性”延展接续；在空间上因出品方所在地域限制，主要规定为由中国大陆（内地）生产，而努力将港台地区排除在外的设置；其目的也是顺应社会历史决定的现实存在，即“三地”曾经在相当长的时期内，电影行业因各自独立发展，而造成的艺术审美、社会文化与政治导向大相径庭的实有状况。虽然随着当今时代“全球化”与“现代化”进程的加剧，原本存在于各个分列区域的中国电影生产格局，有渐趋统一合流的趋势，但因本文选取意识形态话语层面的考察视角决定，仍然对其包含的作品案例有所选取割舍，仅仅容纳个别带有“合拍”性质的“个案”。 从某种“艺术形态”的认知界定出发，将“谍战电影”视作“艺术文本”与“原生世界”相遇过程中的“生成”之物，即“隐含在艺术形态中的社会想象建构”，那么其中被“建构”的“言说”内容，便因电影叙事行为负载的“编码”传播信息，而成为一种普泛意义上的意识形态话语表述行动。“谍战电影”作品依托的故事素材来源，“谍战”生死对抗的残酷境遇，身处其内的“个体”人物跌宕起伏之命运，都能成为营造强烈艺术感染力量的悲剧美学氛围加成，而又为一定时代的主流意识形态“话语”表达诉求，找到了极为适合的媒介文本载体，使其能够充分地注入自我需要的观念信息，进而有效完成对大众的“规训”教导。 正是在如此认知的基础上，本文详细辨析“话语”与“意识形态”的理论发展脉络，结合中国传统文化的思维理路，确立了以路易?皮埃尔?阿尔都塞的主体“询唤”理论为思想资源与分析工具的框架结构。将其裂解为“主体”、“价值”、“人性”三个相互并列，又存在递进关系的阐释维度，并以“想象共同体”为轴的“主体”认同建构、价值观念与判断的信息“编码”传递与解析、“个体”行为于“人性”具象呈现中的话语“自然化”表达几个方面，结合中国各个历史时期出产的“谍战电影”作品之文本细节，进行“理论”思辨与“创作”实践的对话，厘清中国“谍战电影”作品的话语表述机制。 最终，此种艺术形态的“话语”运作体系，被确立为通过电影“叙事”情节营构，刻画“个体”于“谍战”对抗境遇中的命运遭际，并加入人生价值观念维度关注，实现“伦理化”判断的言说策略；它指向的终极目的，是促使“个体”之人，向某种想象的“群体”认同与“大主体”权威的归顺服膺，是试图建构的一种封闭式逻辑自证体系与信息传达手段，而经由电影文本内情节链条与人物关系因果递进推导的陈述程式加以实现。

The previous academic reflections on Chinese spy movies mostly focused on the normal perspective of movie ontology theory featured by “subject type”, “narrative mode” and “character image” and also paid much attention to some single researches on form category prevailing during a certain historical period. Though the names of “spy movie”, “anti-secret agent movie” and “military spy movie” have been recurring and repeatedly mentioned, they have always failed to form a connection to each historical period in the development of Chinese movie industry, instead they are only named with commensurability. As far as the special research category of Chinese spy movies is concerned, it is intended to explore some proper breakthrough points which just lie at the blank of academic thinking. Therefore, starting from breaking through the thinking mode under the guidance of some old theories such as the existing “type” and “subject matter”, the paper regards “spy movie” as an “art form” in a broad sense, incorporates the existing names of various categories to construct a generalization full of significance in term of movie history. In this way the research scope of Chinese spy movies has been determined. In term of time, spy movie started from the 1930s and had been making its “periodical” extension and succession by now. In term of space, due to the geographical restriction of their producers, spy movies mainly refer to those produced in the mainland of China excluding those produced in Hong Kong and Taiwan, for the purpose of conforming to the real existence decided by society and history. Specifically, because the movie industry respectively in the mainland, Hongkong, and Taiwan of China has been developed independently for a long time, actually there are great differences in term of artistic aesthetics, social culture and political orientation. With the intensifying “globalization” and “modernization” in the current era, the production pattern of Chinese movies originally existing in separate areas tends to be unified and converged. Whereas, as far as the perspective for selecting ideology discourse level is concerned, careful selection of the work cases included had been made and only some compatible individual cases have been kept. Starting from the cognitive definition of some kind of “art form”, we regard “spy movie” as a “generated” object from the encounter of “art text” with “original world”, that is “the construction of social imagination implied in art form”. Therefore, those therein being “constructed” or “narrated” becomes an action of ideology discourse expression in a general sense for the “encoding” disseminated information carried in the action of movie narration. The material sources for “Spy movies”, the cruelty of life and death confrontation, and the ups and downs of character fates in “spy movies” all contribute to the tragic and aesthetic atmosphere for producing strong artistic appeal, and express appeals for the “discourse” of mainstream ideology over a certain time. A mostly suitable medium text carrier has been found to enable a spy movie to introduce the ideas and information for ego needs and thus effectively complete teaching the public “disciplines”. It is on the basis of such cognition, the paper analyzes the theoretical development of “discourse” and “ideology” in details, integrates the thinking orderliness of Chinese traditional culture, and determines the framework and structure which takes the subject “interpellation” theory proposed by Louis Pierre Althusser as thought resources and analysis tools. In the paper, the cracked “subject”, “value” and “humanity” are in mutual juxtaposition, and there is an interpretation dimension of progressive relationship among them. An “imagined community” taken as the axis for the construction of “subject” identity, the “encoding”, transfer and analysis of information on values and judgment, the concrete expression of “individual” behavior in the discourse “naturalization” expression of “human nature” have been discussed in the paper as well. On this basis, the text details of the works of spy movies produced during different historical period of China have been integrated in order to make a dialogue between “theoretical” thinking and “innovative” practice and clarify the discourse expression mechanism of Chinese spy movies. In the end, the “discourse” operation system of such kind of art form has been determined as a narration strategy which is constructed by movie “narrative” plotting, depicts the fate confrontation between “individual” and “spy war”, integrates the focus on the perspective of life value and realizes “ethicized” judgment. The ultimate goal is to enable “individual” to yield to the authority of a certain “group identity” and “big subject” of some idea. It attempts to construct a closed logic self-proof system and means of information communication, which are realized through the declarative program of plot chain and cause-effect progressive deduction in movie texts.