抗日战争是自鸦片战争以来中国在对外战争中取得的第一次真正意义上的胜利。我们在对抗日战争的反复叙说中，流露出来的不仅有抗击外国侵略的决心和信念，还有摆脱民族危机、通过抗战来实现民族复兴的希望。抗日题材有着强大的生命力，自抗日战争爆发至21世纪的今天，抗日战争一次又一次地在文学与影视中被建构，这种建构总是带有鲜明的时代特征，而反面人物形象也随之发生了重大变化：由十七年时期类型化、漫画化的扁形人物，逐渐变为新时期文学中有着多重性格的圆形人物。 抗日题材中的反面人物主要由日本鬼子和汉奸组成，他们是民族灾难的原因。在十七年时期的文学作品中，日本鬼子的塑造类似于中国古代志怪故事中的妖魔鬼怪，更多是作为故事发展的背景而存在。而汉奸，则是我方阵营实际的对手，无论是文学文本还是影视作品，其主要情节都是抗日军民与汉奸之间直接而激烈的斗争，并且，通过对汉奸的镇压，我们成功得在想象中塑造了中华民族纯洁的品格。此时的反面人物均为扁形人物，这一扁形人物虽然文学价值不高，但在当时的历史条件下，却有积极的作用和存在的必然性。 经历了沉寂的文革时期，在改革开放的新时期，许多文学观、价值观都发生了重大变化，这也具体地反映在抗日题材的文学作品中反面人物形象的塑造上。读者文化修养的提高和欣赏口味的多元化，在这种变化中也有不可忽视的作用。人们已经认识到了扁形人物的先天不足，开始有意识的追求人物形象的立体感和多侧面。日本鬼子不再是漫画化了的魔鬼，而被部分的还原了作为侵略者的日本兵的形象，汉奸也不再只是数典忘祖、为虎作伥、作恶多端的代名词，他们发出了自己的声音，虽然这声音可能同样是可耻的。相对于正面人物，反面人物的性格有着更复杂的矛盾运动，因而有着更大的创作空间，许多的文艺工作者在创作上都进行了积极的探索，这种探索是有益的还是有害的，本文给出了自己的评价标准。

The Sino-Japanese War was the first true and significant victory of China since the Opium War. When repeatedly narrated to this War, what we revealed was not only the determination and faith of anti-foreign-aggression, but also the hope of getting rid of national crisis. Through this Sino-Japanese War, we realized the national revival hope. The theme of against-Japanese has a formidable vitality. From the beginning of the Sino-Japanese War to the 21st century today, the War was constructed time and time again in the literature, film and television work piece. This kind of constructions was always armed with obvious time characteristic, but the villain image took place tremendous change along with it. From 17-year-time type and cartoon-like flat character, the villain image gradually fulfilled into a circular character, which is alive and vivid with multiple personality in the literature new time. The villain image in the literature work of anti-Japanese-War was drawn by Japanese guys and Chinese-traitors. They were the reason of the national disaster. In the seventeen-year literature work, the feature of the image of Japanese guy was more likely to be the monster and devil in the ancient Chinese legend stories, and often they appeared as the background of a story-telling. As to the Chinese-traitors, they were the real opponents against our nation. No matter in the literature work or in the films, the main plot was always about the direct and fierce battle between the anti-Japanese group (including army and people) and the Chinese-traitors. Through the victory to the Chinese-traitor, we successfully featured the true and pure Chinese national qualities in our imagination. The villain images of this time were all plat features. Of little literature value, they played an active role in the history. After a silent period of Culture-Revolution Movement, we embraced a new era of form and opening-up. Many theories and opinions on literature and value have been rethought and changed. Great changes have been taken place to the villain image in the literature work of anti-Japanese-War too. Readers has improved and varied their culture taste, and their appeals are of importance too. The image of Japanese guys and Chinese-traitors become more truly to realistic life. They tried to make their own voice, instead of simple monster and devil cartoon image. Although the voice they creamed out was disgraceful either, they reflected a more complex contradiction compared with the good guys in normal Chinese eyes. This change created bigger room to literature work and many writers began to explore proactively to the creation. And the thesis gave its own judgment and standard to this phenomenon.