电影以身体为视觉主题。本文立足身体本体论，在“身体转向”的文化背景下，从身体学这一全新视域透视中国当代电影的身体文化。本文游走在纷繁的文化理论和电影理论中，依据具体的研究对象和目标，以“解决问题”为中心，采取灵活有效的研究方法。本文主要围绕以下核心命题展开论述：新时期以来中国电影如何建构和表征身体？电影的身体如何与社会文化生态互动？为此，本文特提出“身体镜像说”——影像身体、明星身体、观众身体组成内部循环的三维身体图景和虚实相间的身体镜城，社会文化生态是电影身体表征的外部型塑成因。“导论”提出问题，综述文献，辨析概念，确立研究思路、方法与基本框架。第一章“身体：电影文化新维度”是本文的理论基础和逻辑起点。简要梳理、辨析中外身体文化理论，提出并阐述“身体镜像说”，试图在此基础上构建中国电影身体文化理论。第二章“身体的启蒙与出场”，考察新时期电影身体文化，试图追寻启蒙未完成的原因。现代化吁求下的身体想象和身体呈现，在个体与民族、传统与现代、开放与保守之间存在的悖论，见证了中国启蒙的艰难和现代性的困扰。人道主义观照下的灵肉分离，显影了启蒙张扬的理性和抽象人性与身体哲学所强调的具体感性这一对无法化解的矛盾。而《红高粱》自由的生命意识、狂放的情欲叙事和极端的暴力叙事使之成为中国第一部身体性电影。第三章“身体的焦虑与突围”，从三个向度勾勒后新时期立体多元的电影身体文化地图。在全球化/民族性/后殖民的向度中，探讨观众身体、明星身体、影像身体对全球化的想象以及民族身份认同的焦虑和危机。在前现代/现代/后现代的向度中，从青春叙事、摇滚叙事、酷儿叙事三个角度辨析“第六代”电影的身体文化。在主导/精英/大众文化的向度中，阐述精英身体的私语化、大众身体的日常化、革命身体的消费化等现象。第四章“身体的消费与狂欢”，分别从消费和性别两个视角批判分析新世纪的电影身体文化。消费社会身体成为神话，对身体奇观和视觉快感的追求使暴力和情色影像泛滥。对性别的关注主要集中在女性生育和男性无能等身体问题上。通过对《色，戒》身体事件的个案分析，解读繁复多义的身体文化，电影的身体场域往往纠结着国族、政治、历史、性、性别、权力、身份等多重不可调和的矛盾冲突。第五章“中国当代电影身体文化反思”，从历史嬗变、内在逻辑、文化批评三个方面反思中国当代电影身体文化，重构未来发展空间。通过对头发叙事的谱系学考察，指出电影身体的能指链在不同的社会文化生态中漂移，构成了身体文化的历史嬗变轨迹。电影身体文化的发展历程经历了两次重大转折，其内在逻辑来自于启蒙辩证法和欲望辩证法对身体的祛魅与赋魅。通过批判张艺谋和陈凯歌近三十年的创作从启蒙到媚俗的身体位移，在充满现代性危机的后现代重新呼唤启蒙。通过对解构还是解放的进一步追问，探寻中国身体文化未来发展的可能性。“结语”对文章的论述进行归结，提出建构主体间性的电影身体学设想。

The body is the visual focus of the movie. Based on the body ontology, against the cultur-al background of “the somatic turn”, from the new perspective of body study, this thesis probes into the body culture of contemporary Chinese cinema. Based on specific targets and goals, drawing on the numerous cultural and film theories, this study takes a flexible and effective re-search methodology. It mainly revolves around the following two issues: How is the body to be constructed and represented in contemporary Chinese cinema? What is the interaction between the body in movies and the social-cultural ecology? This thesis puts forward the idea of “the mirror of body”--- the notion that image body, star’s body and spectator’s body by themselves form a three-dimensional body picture and an actual and visionary body mirror image, and so-cial-cultural ecology is the external cause of body representation of movies.“Introduction” involves questions to be answered, literature review, analysis of concepts, and the establishment of research ideas, methods and basic framework.Chapter I--- “Body: a New Dimension of Movie Culture”--- is the theoretical basis of this thesis and the logical starting point. It gives an overall analysis of the theories at home and abroad, and tries to construct the theory of body culture in Chinese cinema on the basis of the notion of “the mirror of the body”.Chapter II--- “Enlightenment and Appearance of the Body”--- inspects the body culture in movies of the New Period, and tries to trace the causes of the unfinished enlightenment. Under the modern and humanitarian invoke, the imagination and visual presentation of body witnesses the difficult process of Chinese Enlightenment and the disturbing quality of modernity. “Red Sorghum”, with its free life consciousness, abundant passionate narration and the carnival narra-tion of violence, is the first Chinese body movie.Chapter III --- “Anxiety and Escape of the Body”---outlines the multi-cultural map of the body in the Post New Period movies from three dimensions: globalization, nationality and post-colonial; pre-modern, modern and post-modern; the dominant, elite and mass culture.Chapter IV--- “Consumption and Binge of the Body”--- gives a critical analysis of the body culture in movies of the 21 century from the perspectives of consumption and gender. Violence and sexual images commonplace, which pictures the myth of body culture in this consumer so-ciety. As far as gender is concerned, its major focus is on female fertility and male impotence. A case analysis of the movie “Lust, Caution”, which reflects the complex interpretation of the meaning of body culture. Chapter V--- “Reflections on Body Culture in Contemporary Chinese Cinema”--- reflects body culture in contemporary Chinese cinema and reconstructs future development from the as-pects of historical evolution, internal logic and cultural criticism. The significant chain of the movie body shapes the changing process of body culture. The cinema body cultural development has experienced two major turning points, and the logic is the Dialectics of Enlightenment and Dialectics of Desire on the body disenchantment or reencharment. On the basis of a further dis-cussion of deconstruction or liberation, the paper explores the chances of future development of Chinese body culture.“Conclusion” presents a brief summary of the given discussion in the previous chapters, and proposes the construction of the inter-subjectivity movie body study.