21世纪以来的中国武侠电影一方面延续着其独特的类型与文化传统，另一方面又在不断深入的商业实践以及艺术尝试中跳脱出原有桎梏，进行着尝试与创新。本论文的内容框架基于类型电影研究理论的基本三要素构成，结合明星研究方法，通过进入具体的影片文本以及明星文本对中国武侠电影进行多维度的考察，以探究新世纪以来中国武侠电影类型元素的突出特征以及其相较以前所呈现出来的异质性、创新性的部分。

本论文主要分为三个部分内容：

第一部分首先与类型研究中“图解式的视觉形象”这一研究要素构成呼应，尝试从视觉呈现的层面入手，以自然景观、社会场所与心理空间为基本脉络分析中国武侠电影中武打场面的展现，并进一步分析其中人物技击招式的影像细节，同时考查数码特效对于场景表现、身体动作等不同方面的介入，最后以角色所穿戴的服饰及其使用的兵器等诸种物象作为切入点，探究武侠片中道具装置的展演与器物迷恋问题。

第二部分则以电影明星作为切口，分析电影明星如何形塑出中国武侠电影中具有典型类型特性及当下时代特征的武侠形象。可概念化的明星气质使得同种类型的银幕角色可以被重复扮演，因此该部分也将同时探讨类型电影研究中“定型化的人物”以及武侠电影相关的明星问题。该部分首先对 21 世纪初期以章子怡等为代表的侠女形象进行聚焦，指出这一类型角色的身体奇观及其承载的东方想象。其次对李连杰等的英雄角色角色序列进行探究，分析其中的文侠气质以及消解暴力的自省意识，并分析李连杰的社会表演如何与其电影角色构成反差并最终完成弥合。最后落脚于 21 世纪以来被甄子丹等不断演绎的宗师形象，并指出这一形象运用民族叙事以及日常塑造的策略对特定历史人物进行神话重写。

第三部分的研究则从影片文本内部的叙事策略、情节主题出发，同时又不局限于此，该部分也注重分析武侠电影文本之外的市场状况，以此探讨中国武侠电影在式微困局中的一系列风格转向，首先对徐浩峰、侯孝贤等创作的“作者化”武侠电影进行艺术特征分析，并基于徐克、陈可辛等在商业框架内创作的武侠电影与其他电影类型不断杂糅的现状，研究动作包装、喜剧嫁接以及悬疑融合等武侠片商业尝试所带来的市场收益，最后探讨龙虎武师及其功夫生产逐渐被电影凝视以及观众消费的新面向，同时对武侠电影的发展趋势进行分析。

Since the 21st century, Chinese martial arts films have continued their unique genre and cultural traditions, while also breaking free from their original constraints through continuous and in-depth commercial practices and artistic attempts. This dissertation analyzes and studies Chinese martial arts films since the 21st century based on the theoretical framework of genre film. At the same time, it conducts a multidimensional examination of Chinese martial arts films by entering specific film texts, star texts, film production mechanisms, and the martial arts film market. It explores the prominent characteristics of Chinese martial arts film genre elements since the new century, as well as the heterogeneity and innovation they have shown compared to before.

This dissertation is mainly divided into three parts.

The first part starts with the visual presentation, analyzing the presentation of martial arts scenes in Chinese martial arts movies based on natural landscapes, social places, and psychological spaces. It further analyzes the visual details of the character's combat moves, and examines the intervention of digital special effects in different aspects such as scene performance and body movements. Finally, it takes various objects such as the clothing worn by the character and the weapons used as the entry point, Exploring the performance of props and their obsession with objects in martial arts films.

The second part takes movie stars as the starting point to analyze how movie stars shape martial arts images with typical typological characteristics and contemporary characteristics in Chinese martial arts films. Firstly, focus on the heroic female characters represented by Zhang Ziyi and others in the early 21st century, pointing out the physical wonders of this type of character and the Eastern imagination it carries, as well as its cross-border star making strategy as a "martial arts actress". Secondly, it will explore the hero character sequences of Jet Li and others, analyze their literary and chivalrous temperament, as well as their self reflection consciousness in resolving violence. It will also analyze how Jet Li's social performance contrasts with his film characters and ultimately bridge the gap. Finally, it focuses on the image of martial arts master that has been continuously portrayed by Donnie Yen and others since the 21st century, and points out that this image uses ethnic narrative and daily shaping strategies to rewrite myths about specific historical figures, while analyzing the hidden crises behind their commercial success.

The third part focuses on the production, creation, and consumption of martial arts films from a macro perspective, exploring a series of stylistic changes in Chinese martial arts films during their decline. Firstly, it analyzes the artistic characteristics of "author oriented" martial arts films created by Xu Haofeng, Hou Xiaoxian, and others. Then it takes the martial arts films of Tsui Hark, Chen Kexin, and others as examples to study the market benefits brought by the commercial attempt of genre fusion. Finally, it explores the new aspects of stuntmen and their martial arts creations gradually being targeted by movies and consumed by audience , and analyzes the development trend of martial arts films.