Since the birth of "Naughty Kids" in 1922, Chinese children's films have been around for over a hundred years, but they have long been confronted with a situation of relatively scarce research materials. During the Cultural Revolution in China, due to political interference, only 14 children's films were released within ten years. Constrained by the "three Highlights" creative principle, the image of children has transformed from the fleshy "naughty little heroes" of the seventeen years to flawless, adult-like "all-round warriors". This article will focus on children's films during the Cultural Revolution period, taking the "Gao Da Quan" children's image as the research core. By combining the background of The Times and specific film cases, it will study the evolution logic and process of the dissolution and symbolic construction of image subjectivity from the initial stage, further generation, to the final formation and conclusion. The essence is that children's images have become the mouthpiece of political discourse, and individual subjectivity has been completely dissolved. It eventually becomes a replicable standardized political symbol. Expand the temporal dimension and depth of research on children's film images, provide a perspective for understanding the influence of external forces such as political discipline on the creation of film works, and enrich the scope of application of related research.

中国儿童电影自1922年<顽童>诞生之后已逾百年，但长期面临着研究资料相对匮乏的 局面。在中国文革时期受政治干预，10年间仅有14部儿童电影问世。受到“三突出”创作 原则的制约，儿童形象从十七年时期有血有肉的“顽皮小英雄”，转型为无缺陷、成人化 的“全能战士”。本文将聚焦文革时期儿童电影，以“高大全”儿童形象为研究核心，结 合时代背景与具体影片案例，研究形象主体性消解与符号化建构从雏形、进一步生成再到 定型与终结三个阶段的演变逻辑及过程，其本质是儿童形象沦为政治话语传声筒，个体主体性被彻底消融，最终成为可复制的标准化政治符号。笔者旨在突破既有研究将文革儿童 电影仅作为背景提及的局限，聚焦该时期儿童形象的主体性消解与符号化建构特征，填补 文革时期儿童电影形象研究的空白，提升对特殊历史语境下艺术作品与意识形态关系的解 释力。拓展儿童电影形象研究的时间维度与深度，为理解政治规训等外部力量对电影作品 的创作影响提供视角，丰富相关研究的适用范围。

【目 录】
【摘要】
1. 绪论
2. 主体性消解与符号化建构的雏形
    1)“先进帮助落后”模式下的个体消融
    2)“三突出原则”推动政治符码的植入
3. 主体性消解与符号化建构的进一步生成
    1) 成人本位儿童观的重构与投射
    2) 孩童天性的情感泯灭
4. 主体性消解与符号化建构的定型与终结
    1) 异化的全能战士符号
    2) 复仇叙事中自主意识的全面丧失
    3) 流水线上的模板化符号复制品
5. 结语
【参考文献】
【논문초록】

• 乔宁 (浙江师范大学艺术学院戏剧与影视专业副教授) | 교녕
• 花子涵 (浙江师范大学艺术学院戏剧与影视专业硕士研究生) | 화자한