法律电影是研究法律文化的法律文本和法律实践。法律电影为分析法律文化提供了生动形象、活泼有趣的素材，通过电影可以具象地揭示出深刻的法律文化，是法律人与社会公众实现沟通的一种行之有效的传播媒介。本文主要分为六章对中国法律电影与中国法律文化进行阐述。 第一章主要围绕中国法律电影如何与法律文化发生关联进行阐释。法律电影是中国法律文化的重要载体和传播形式，中国法律文化是第三极文化的重要组成部分。中国法律电影的题材特征具有超越性、戏剧性、对话性、复杂性。关于中国电影的百年历史（1905-2015），法律电影的比重并不大，本文将其归为四类进行解读。 第二章主要研究中国乡土社会的法律电影。本文选取了四部经典影片作为研究对象，分别是《秋菊打官司》、《被告山杠爷》、《马背上的法庭》和电视电影《法官老张》系列。现代的法治理念和乡土司法经验之间的碰撞与冲突在中国的乡土社会不断交替上演着。 第三章主要研究中国都市社会的法律电影。根据相近题材的原则，文章选取了拐卖儿童题材《亲爱的》与《失孤》、法庭片类型《全民目击》与《圣诞玫瑰》、中西方文化冲突《刮痧》与《不能没有你》，共六部影片作为研究对象。这些电影生动反映了在都市社会的法律文化，以及中国与西方法律文化的差异性。 第四章主要研究中国主旋律法律电影。现实主义是中国主旋律电影创作的主流，本章主要根据司法职业的特性进行分类，围绕法官职业的电影《主犯就在你身边》、《法庭内外》、《真水无香》，律师职业的电影《激情辩护》，公安题材的电影《任长霞》、《大道如天》，以及具有历史意义的审判题材的电影《东京审判》、《黄克功案件》等八部影片进行研究。这些主旋律法律电影不仅达致现实主义精神与艺术表现力的并重，而且实现了中国核心价值观与市场认可度的交融。第五章主要研究中国古代司法法律电影。文章选取两部影片作为研究对象，分别是戏曲电影《十五贯》和电影《秋决》。中国古代社会是一个宗法社会，强调“人”的主体地位，实行“礼治”，司法行政一体化的结构导致权力缺乏制衡。第六章主要以中国法律电影为文本解读中国法律文化。报告将中国法律文化分为中国传统法律文化和中国现代法律文化。通过对中国法律电影的文本分析，我们发现在中国法律文化现代化转型过程中面临两个难题，引进与致造是中国法律文化转型的发展路径。

Legal movie provides the text and practice for studying legal culture. As a link between lawyers and citizens, legal movie reflects the essence of legal culture through their vivid and interesting materials. The thesis is going to analyze the relationship between Chinese legal movie and Chinese legal culture from six aspects. The first chapter is about the history and characteristics of legal movie, and how it is closely related to legal culture. Legal movie is an important carrier and communication form of Chinese legal culture, which itself is an integrated part of the third pole culture. Chinese legal movies are transcendent, dramatic, complex and full of dialogue. The thesis finds that during Chinese movies’ one-hundred-year history, legal movie occupies only a small part. It can be divided into four categories. The second chapter analyzes the legal movies on Chinese rural society. The thesis selects four classic movies: Qiu Ju Goes to Court, The Accused Uncle Shan Gang, Courthouse on Horseback and a TV series The Judge Old Zhang. These movies reflect the conflict between rule of law in modern society and judicial experience in rural society. The third chapter delves into the legal movies on Chinese urban society. The thesis selects three groups of movies according to similar subjects: Dearest and Lost and Love on child abduction, Silent Witness and Christmas Rose on court debate, Gua Sha and No Puedo Vivir Sin Ti on the conflict between eastern and western cultures. The six movies reflect the legal culture in urban society as well as the differences between Chinese and western legal culture. The fourth chapter does a research on legal movies encouraging the main theme of society, or socialist realism. The thesis selects four groups of movies based on the professions: Murderer Among Ourselves, In and Out of Court and No Fragrance on the judges, Passion and Defence on the lawyers, Ren Changxia and At Horizon on the police, The Tokyo Trial and A Murder Beside Yan He River on the trial. The eight movies value both the realism and the art, and link the core values of Chinese society and market recognition.The fifth chapter dates back to the traditional legal opera in ancient China. The thesis selects two traditional operas: Fifteen string of 1,000 coins and Execution in Autumn. The two operas reflect the lack of check and balance in the ancient rule-of-man society where judicial branch is not independent from executive branch. The sixth chapter interprets Chinese legal culture based on the text of Chinese legal movies. The thesis classifies Chinese legal culture into the traditional part and the modern part. Through the analysis on the text of Chinese legal film, the thesis found out two problems faced by Chinese legal culture during modernization. Bringing-in and self-innovation are the ways out.