本文试图通过分析1949年以来美国电影中的中国形象，探究这些形象产生的历史、文化、政治、地理和心理原因。研究美国电影中的中国形象，一方面可以通过异国的中国形象来认知自我，从而对主体自我有一个明晰的认识；另一方面也可以从美国电影的中国形象这面镜子反窥到西方的集体文化心理；再者，可以有的放矢地建构中国真实、丰满、生动的主体自我形象。本文采取实证分析和批判分析相结合的方式来进行研究。首先，依据美国影片的影响力和传播度，本文确定了100部出现中国形象的美国影片作为样本库，这个样本库基本涵盖了1949年以来美国电影的各个历史阶段和主要类型。其次，在文本细读的基础上，本文结合社会历史批评、比较文学形象学、东方学、意识形态理论、文化地理学、符号学、叙事学、传播学等相关理论对美国电影中的中国形象进行研究。美国电影中出现的中国空间、中国人物和中国符号都是中国形象的承载者，因此，本文分别统计出了出现频次在两次以上的中国空间、中国人物和中国符号，然后据此分析这些中国形象在美国电影中承载的文化意义。中国空间出现的频次由高到低依次是唐人街21次、香港15次、上海11次、北京8次、乡村8次、西藏7次，蒙古4次、满洲2次；中国人物出现的频次由高到低依次是黑帮39次、军人26次、警察18次、小店主14次、官员12次、农民9次、蒙古人5次、喇嘛5次、偷渡者5次、妓女5次、军阀5次、仆人5次、学生4次、皇帝3次、工人3次、公主2次；中国符号出现的频次由高到低依次是功夫36次、中餐18次、唐装11次、长城5次、龙4次、舞狮4次、竹林4次、兵马俑3次、麻将3次、熊猫3次、针灸3次、京剧2次、乒乓球2次。这些地理空间、社会人物和文化符号共同构建了美国电影中的中国形象。同时，美国电影在处理东西方关系经常采用5种二元对立的故事模式，这5种故事模式是征服模式、救世模式、皈化模式、黄祸模式和红祸模式，这些原型化的故事模式进一步揭示了西方的东方主义和意识形态思维，这对于把握美国电影中的中国形象的生产过程意义重大。美国电影在欲望和想象中创造了荒诞无稽的中国形象，并利用其掌控的全球化传播媒介将扭曲的中国形象传播到世界各地，这对于中国的国家形象造成了极大损害。在很大程度上，国家形象关乎到中国发展的未来，以至于成为中国发展的“战略性威胁”，因此夺取被美国文化霸权篡夺的言说自我的话语权，重塑中国的国家形象已经势在必行。

The aim of this dissertation tries to analyze China’s images in American movies since 1949 and explore the causes of these images, such as historical, cultural, political, geographical and psychological, etc. In this thesis, on the one hand we can acquire self-cognition, on the other hand we can look into the collective psychology of western culture. So it follows that, we can targeted to construct real, vivid and full self-image. It will be combined application of empirical analysis and critical analysis to study China’s images in American movies. First of all, according to the principles of influence and power, the author created a sample library which includes 100 American films. The 100 American films are of all times and main types of American movies since 1949. And then, on the basis of close reading, it will be combined use of social-historical criticism, imagologie, orientalism, ideology, cultural geography, semiology, narratology, communication and to study China’s images in American movies. Many places, peoples and symbols of China had appeared in American movies and they are all China's images. Now the author has gathered statistics respectively on the frequency they appear. The point is the China's image which appear more than twice in the sample library. And then the author would analyze of these China's images and explore their cultural significance in western culture. On the places side: Chinatown appears 21 times in the sample library, Hong Kong 15 times, Shanghai 11 times, Beijing 8 times, Village 8 times, Tibet 7 times, Mongolia 4 times, Manchuria 2 times. On the peoples side: offender appears 39 times in the sample library, military 26 times, police 18 times, petty shopkeeper 14 times, officer 12 times, farmer 9 times, Mongol 5 times, lama 5 times, stowaway 5 times, prostitute 5 times, warlord 5 times, servant 5 times, student 4 times, emperor 3 times, worker 3 times, princess 2 times. On the symbols side: Kungfu appears 36 times in the sample library, Chinese food 18 times, Tang suit 11 times, the Great Wall 5 times, dragon 4 times, lion dance 4 times, bamboo 4 times, Terracotta Army 3 times, mahjong 3 times, panda 3 times, acupuncture 3 times, Beijing opera 2 times, table tennis 2 times. These places, peoples and symbols construct together China’s images in American movies since 1949. By inducing, the author has summarized 5 story modes about China and the West. These 5 story modes are conquest mode, salvation mode, assimilative mode, yellow peril mode and red peril mode. They further revealed the mystery about American movies. Through imagination, American movies had made up absurd and groundless images of China. At the same time, China’s images in American movies have been spreaded all over the world, which had done damage to China’s images. The absurd and groundless images of China have affected the development of China and it has been a seriously strategic threat to China. So recapturing the rights which had been taken from us by America and planning to reconstruct China’s images is urgently needed.