本文尝试考察2007年至2011年中国热门电影中的女性形象，通过实证分析女性角色、调查形象特点的具体状况，对比中国当代社会真实数据及先前研究结论，探讨当前中国电影中女性形象呈现的主流意识形态及社会现实，进而分析中国电影所体现的媒介性别话语与社会文化的关系。全文由导论、正文三节和结论组成，主要使用社会学和传播学方法分析电影文本，也可以说是从电影社会学角度入手分析。导论简要介绍当前中国媒介社会性别问题的现状及研究意义，分别从社会文化与媒介传播两个角度进行阐释。当前中国电影中的性别话语并不能体现性别平等，刻板形象常常出现，而媒介中的权威话语会对社会文化产生影响，加深人们的性别偏见，因此研究媒介话语并在创作媒介文本时注意性别话语的传播势在必行。此外，文献综述部分还对中国与外国媒介性别领域的研究进行了总结，并提炼了可作参考的媒介性别研究方法。第一节介绍本文的理论框架与具体研究方法。本研究选择2007年至2011年上映的54部热门国产电影，依次使用以下两种媒介分析方法：内容分析和话语分析，分别采用电影创作者思路和电影观者思路进行阐释，对应媒介的编码和解码过程。内容分析部分对电影中女性角色的自然属性、社会属性和叙事属性进行了数据收集，媒介分析部分则按照原型、刻板形象、类型三个方面将女性角色分类，再分析各自反映的性别话语。第二节为具体的内容分析部分。经数据比对发现，中国以女性为主角的电影远远少于以男性为主角的电影。女主角电影大部分都存在男主角，但男主角电影只有一半左右存在女主角，大量电影属于男性叙事视角故事。女主角的身份、地位设定也不及男主角。此外，当代故事背景的电影仅占1 / 3，大量电影属于非现实的古装题材历史剧，而以传统社会为背景的故事也可能对当代女性性别话语产生影响。第三节为具体的话语分析部分，按照女主角的三种层次分别进行分析。第一，作为主角的女性：对四种女性角色模式在当代商业电影中的表现进行归类及对比，指出了角色模式的新变化。认为弱化主角个性的灰姑娘模式以及花木兰模式与潘多拉模式的结合体较受欢迎，而盖娅模式呈现缺席状态。第二，作为配角的女性：男主角电影中的女主角多为其恋人角色，且创作者大多不为其设定自我主体意识；男主角电影中的女配角则多为传统妇女式的刻板形象，温柔、贤惠并且存在的意义就是支持丈夫/恋人。女主角电影中的女配角并没有对女主角起到支持作用，反而在一定程度上孤立了女主角，以反衬男主角对于女主角的重要性。女性配角的设定特点大多为流行的妇女刻板印象，且模式趋于单一。结论部分对于女性缺席、刻板印象等问题进行了深度分析，尝试从社会文化角度解答这个问题。外来男权文化和消费文化影响着经历了妇女解放运动的中国，使传统性别观念复辟，电影消费习惯及关注倾向改变。此外，人们对现实生活的不安也造成了古装类和幻想类电影的流行。中国电影创作者需要重新观察当前的社会，避免被男权文化和消费文化牵引着来进行电影商业运作。寻找更合理的性别话语以及女性形象，将是未来电影创作者们的新课题。

This thesis focuses on the image of women in Chinese grossing movies in 2007 to 2011, discuses the media ideology and social reality from the female cinematic characters based on the empirical analysis to the female characters, previous studies and the real state of contemporary Chinese women. The contact between movie as media and real Chinese society is also examined. The thesis has three parts: foreword, main, and further discussion, sociology and communication theory are the main methodologies of the analysis, the concept of movie of sociology is also involved. The foreword discuses the meaning of media gender problem from two points of view: social culture and media communication. The gender inequality and the stereotype to image of women happen in contemporary movie which is kind of authoritative narrate, and may affect the attitude to women in real life. Therefore the research of image of women in movie should be pay more attention by movie production. Otherwise, the media gender issues in China and overseas is discussed in sum up of previous research part, the available and appropriate methodology was also selected.The first episode is the introduction of theory and method. 54 grossing Chinese movies in 2007 to 2011 are chosen as the research samples. And the methods are contents analysis and ideology analysis. The contents analysis based on the writer-director line of thinking, the natural attribute, social attribute and narrative attribute in media coding processed are investigated; The ideology analysis examines the type and feature of characters, which 3 types of characters and their meaning are classified.The second episode is the contents analysis. The data of these 54 grossing Chinese movies demonstrate a significant male domain ideology, female characters are less than male characters, and the fictional stories take a major role of the whole sample movies, which may shows a restoration inclination on both the gender ideology and popular culture.The third episode is for gender ideology analysis, which separate to three layers: 1, women as protagonist: the evolution of four classical female character modes. Cinderella mode is being popular, the combination of heroine mode and Pandora mode are also being welcome, but the Gaia mode characters are rarely absent. Women as supporting role: female supporting characters in movie always play the lover of hero. They are the stereotype housewife or lover, kind, gentle and be loyalty to the hero. Besides, women protagonists are unsupported by the women supporting characters in movie, the male characters are more helpful than the female to the protagonists. Moreover, most women supporting characters are highly labeled and stereotypes.The conclusion part is the further discussion of the problems above. The social explanation of Cinderella mode and male domain is the rise of consumer culture and foreign culture. Meanwhile, the thinking of fleeing from the reality is also the reason of popularity of fiction movies. Chinese creators should pay more attention to the gender theme on character settings, and avoid the badly bias on gender issue. Finding the appropriate gender balance in movie stories will be the new mission of creators.