作为电影中较为特殊的一类人物形象，残障人物形象在电影中屡见不鲜。2010年电影《海洋天堂》上映，感动之余，孤独症这种原本并不引人注目的非肢体性心理残障也引发了大众的热烈关注，公众对于残障有了更为深刻而全面的理解和认知，对于残障人士的关注也由生理上的外在病变转移至心理上的残缺和障碍。自此，许多电影创作者纷纷将创作重心转移到表现残障人物更为复杂而敏感的内心世界上。本文对2010年以来中国电影中出现的主要残障人物形象进行了梳理和分类，并试图以电影叙事学中的视点转换和空间构成为理论基础，从镜头设计、声音运用、景别设定、构图安排以及色调光影等方面对电影中残障人物形象的视听塑造方式进行研究。

第一章“2010年以来中国电影中残障人物形象的类型划分”通过对2010年以来中国电影中的残障人物形象的分类，从而分出低能无助的苦情弱者、超越残障的励志榜样、寻求安稳自立的普通人、技能超群的异能人士这四类人物形象。

第二章“叙事视点转换下残障人物形象的内心呈现”以电影叙事学中的叙事视点为理论依据，分别对电影《推拿》、《海洋天堂》、《我的影子在奔跑》中的残障人物形象的独特视点进行分析，从而得知叙事视点的选择和转换，尤其是主观视点的运用，更有利于观众体会残障人物的内心情感和状态。

第三章“空间构成下残障人物形象社会关系的体现”则是从叙事空间的角度入手，从景别、构图等角度分析《宝贝儿》、《听说》、《妈妈的神奇小子》这三部电影中的残障人物形象，从而得知对称性构图和带前景的构图对于展现残障人物形象在社会中的自我挣扎以及被边缘化的状态有着视觉上的良好表达，同时中近景对于表现电影中的聋人形象更具备平等的表达。

第四章“色调光影烘托下残障人物形象的感性表达”则是从灯光、影调的角度，通过对《逆光飞翔》、《了不起的老爸》、《暴裂无声》这三部影片中的残障人物形象的光影塑造分析，从而发现逆光对可以作为残障人物内在精神力量的一种外在强化，而冷色调的运用则帮助宣泄其内心压抑复杂的情感，高反差的灯光效果也更有利于展现残障人物的生活质。

综上所述，在残障人物形象的视听塑造上，各种电影手法层出不穷、不断探索精进，与此同时，呈现在大银幕上的残障人物形象也日渐摆脱了以往的刻板印象，展示出更为多元和更贴近当下社会的残障人物形象。

As a special kind of character image in the film, the image of the disabled character is often seen in movies. In 2010, the movie "Ocean Paradise" was released. In addition to the moving content of the film, the non -limb psychological disability, which was not noticeable in the first place, also aroused warm attention from the public. The public had a deeper and more comprehensive understanding and cognition of the disability, and the attention of disabled people shifted from physical and external lesions to psychological disabilities and disorders. Since then, many film creators have shifted their creative focus to more complicated and sensitive inner worlds of disabled people. This paper sorts and classifies the main characters with disabilities in Chinese films since 2010, and tries to study the audiovisual shaping methods of characters with disabilities in films from the aspects of lens design, sound application, field setting, composition arrangement, tonal light and shadow based on the theory of viewpoint transformation and space composition in film narratology.

The first chapter "The types of Disabled People in Chinese films since 2010", classifies the disabled characters in Chinese films since 2010, so as to distinguish four kinds of characters: the low-energy helpless weak, the inspirational examples beyond the disabled, the ordinary people seeking stability and self-reliance, and the powerful people with superior skills.

The second chapter, "The Inner Presentation of the Images of Disabled People under the Conversion of Narrative Point ", is based on the narrative perspective in film narrative as the theoretical basis. This chapter analyzes the unique perspectives of the images of disabled characters in the movies "Massage", "Ocean Paradise" and "My Shadow is Running" respectively, so as to know the selection and conversion of narrative viewpoints, especially the application of subjective viewpoints. This is more conducive to the audience to understand the inner emotions and states of the disabled characters.

The third chapter, "The Embodiment of the social relations of the Characters with Disabilities under the Structure of Space", starts from the perspective of narrative space, and analyzes the images of the characters with disabilities in the three films "Honey", "Heard" and "Mama's Wonder Boy" from the perspectives of landscape and composition. Through analyzation, it is known that symmetrical composition and foreground composition have a good visual expression to show the self-struggle and marginalized state of the disabled characters in the society, and the medium and close-range scenes have an equal expression to show the images of deaf people in the film.

The fourth chapter, “The Emotional Expression of Disabled Characters Under the Influence of Tone and Shadow”, analyzes the light and shadow shaping of the disabled characters in the three films: “Flying Against the Light”, “Amazing Dad” and “Cracking Silence” from the perspective of lighting and tone, and finds that the back light can be used as an external reinforcement of the inner spiritual strength of the disabled characters. The use of cool colors can help to vent the depressed and complex emotions in their hearts, and the high-contrast lighting effect is more conducive to showing the quality of life of the disabled characters.

In summary, in the audio-visual shaping of characters with disabilities, a variety of film techniques have emerged endlessly, constantly exploring and improving. At the same time, the image of characters with disabilities presented on the big screen have also gradually gottne rid of the previous stereotype, and show more diversified characters with disabilities that are closer to the current society.