论文以20世纪80年代中国电影中的服饰文化为研究对象，讨论这一时期衣与人在电影中显现的面貌和特点，进而阐释和分析电影中不同主体身份想象现代以及现代日常生活方式的路径。论文以具体影片细读、相关文献阐释与文化研究相互交叉的方法进行。在结构上，论文三个章节的论述逻辑为总体递进关系，第一章通过互相并列的三个小节讨论不同职业身份的造型方法，第二章以日常生活的视角切入电影所建构的性别衣着实践，第三章则基于前两章的讨论对服饰文化与现代想象之间的互动关系进行宏观概述与深入分析。

第一章根植于具体文本讨论这一时期银幕上的不同职业身份的造型特点。在工人身上，电影对其造型进行了颠覆与改写，对传统统一、标准化的衣着体系形成了挑战。知识分子身上的衣着细节标注了知识在这一时期的特殊地位，同时也不无矛盾地表征着他们所面临的窘迫物质现实。作为新时期在银幕上出现的新身份，个体户的造型背后潜藏着的物质追求受到了一定程度的认可与合法化，但也印证着时代本身关于物欲的焦虑。

第二章着重分析电影建构的日常生活中不同性别的衣着实践。旧制服依然是这一时期入时男性参与日常生活的时尚标准，女性时髦追求的生活展演与个性解放、树立理想新公民、呼唤新日常生活和公共空间紧密联系在一起。同时，通过不同叙述方式和服装修辞，电影呈现出这一时期男女性别面临的身份认同问题，进而对性别气质进行重写与建构。

第三章则结合前两章，对20世纪80年代中国电影中服饰文化所折射出的现代想象进行分析。时装表演，出现在T台、公园、街道、歌厅等城市空间中，成为了兴起中城市文化的组成部分。服饰，作为一种视觉修辞，隐喻着现代发展进程中的地域差异，并书写着不同身份群体的社会文化症结和现代体验。

总体而言，服饰不仅成为这一时期银幕表征不同身份的方法，同时描绘出差异身份对现代日常生活和未来的想象。在电影中，服饰流行意义的凸显，既言说着线性发展意识中的时间尺度，同时又整合着全球化格局之下的空间想象。

This thesis examines the cultural significance of clothing in Chinese films from the 1980s, discussing the portrayal and characteristics of clothing in relation to human identities within cinematic narratives. It further explores how different subjectivities in films imagine modernity and modern daily lifestyles. The research employs a methodological cross-section of close film readings, literary interpretation, and cultural studies. Structurally, the thesis advances progressively across three chapters. The first chapter discusses the styling methods associated with different occupational identities through three parallel sections. The second chapter delves into the cinematic construction of gendered clothing practices from the perspective of daily life, while the third chapter provides a macroscopic overview and in-depth analysis of the interaction between clothing culture and the modern imagination, building on the discussions from the preceding chapters.

Chapter One is rooted in the textual analysis of styling traits of various occupational identities portrayed on screen during this period. For workers, films subvert and rewrite their traditional, standardized attire, challenging the conventional uniform system. The clothing details of intellectuals mark the special status of knowledge in this era but also paradoxically represent the challenging material realities they face. Entrepreneurs, a new identity in this era, have their material aspirations recognized and legitimized to some extent, albeit also reflecting the period’s anxiety over material desires.

Chapter Two focuses on the analysis of gendered clothing practices in the everyday life constructed in films. Old uniforms remain the fashion standard for men's participation in daily life during this period, while women’s fashionable pursuits, individual liberation, and the establishment of an ideal new citizenry are closely linked with calls for a new daily life and public spaces. Additionally, through different narrative styles and clothing rhetoric, films illustrate the gender identity challenges faced by men and women during this period, thereby rewriting and constructing gender temperaments.

Chapter Three synthesizes the insights from the first two chapters to analyze the modern imagination reflected through clothing culture in Chinese cinema of the 1980s. Fashion shows, occurring in urban spaces such as catwalks, parks, streets, and cabarets, become an integral part of the emerging urban culture. Clothing, serving as a visual rhetoric, metaphorically captures regional differences in the modern development process and narrates the socio-cultural issues and modern experiences of different identity groups.

Overall, clothing not only serves as a method of representing different identities on screen during this period but also portrays the varied identities' imaginations of modern daily life and the future. In films, the highlighted significance of clothing fashion speaks to the temporal scale within a linear development consciousness and integrates spatial imaginations under a globalized framework.