Children’s films produced during the Cultural Revolution have long remained in a blind spot in the historiography of Chinese children’s cinema. They have either been dismissed for their perceived artistic impoverishment or passed over on the grounds of historical rupture. Drawing on Gilles Deleuze’s theory of cinema, this article shifts the analytical focus from the political attributes of film to the internal mechanisms of the image. It argues that the disappearance of children during this period is not merely a matter of diminished themes or representations, but rather the result of the interval between perception and action being filled in. Children on screen cease to function as “centers of indetermination” and instead become determinate centers that neither hesitate nor err.Paradoxically, the disappearance of the child is accomplished not through the repression of children, but through their empowerment. Deleuze identifies children as privileged figures of the time-image precisely because of their “functional incapacity” within the adult world: their inability to act effectively constitutes the passage through which they gain access to the time-image. Children’s films of the Cultural Revolution, however, repeatedly fill this interval by assigning children actions far beyond their actual capacities. On this basis, “child-centeredness” can be given a precise definition at the level of the image: whether a film allows children to retain their incapacity.Building on this critique, the historiographical reconstruction proposed by this article does not seek merely to restore the Cultural Revolution period to its conventional position within an established historical sequence. Rather, it calls for a transformation of the temporal model through which the history of Chinese children’s cinema is written. The internal measure should be the “stock” or accumulated presence of the time-image, with the coexistence of multiple temporal strata replacing the linear progression of chronology. As a temporal stratum in which this stock approaches zero, the decade of the Cultural Revolution need not first demonstrate its causal influence on the periods before and after it in order to warrant historical significance; it remains perpetually present. Only when rupture is allowed to appear precisely as rupture can the child who has been made to disappear truly return to the writing of history.

中国文化大革命时期（文革时期）的儿童电影长期处于中国儿童电影史研究的边缘位 置。围绕这一时期儿童电影的讨论，大多集中于政治环境、儿童形象以及社会文化背景等 层面，对于儿童形象如何在影像机制中发生变化仍缺少深入分析。本文以德勒兹“运动- 影像”与“时间-影像”理论为基础，围绕“儿童的消失”这一命题，对文革时期儿童电 影展开考察。研究发现，这一时期儿童电影通过强化感知、情感与行动之间的联系，使儿 童经验不断进入既定意义之中，儿童原本具有的迟疑、凝视、漫游以及暂时无力行动的状 态逐渐受到压缩，儿童作为感知主体的位置也随之发生变化。由此，儿童本位的问题需要 从影像方式层面重新理解，其核心在于影像是否能够保留儿童自身的感知经验与时间经 验。对文革时期儿童电影的重新考察，不仅能够深化对这一特殊历史阶段儿童影像机制的 理解，也为中国儿童电影史研究提供了一种从影像内部展开分析的路径。

【目 录】
【摘要】
1. 绪论
2. 影像吞噬儿童：时间-影像的封锁
    1) 运动-影像：封闭的影像机制
    2) 时间-影像：作为儿童感知的影像机制
    3) 文革语境下运动-影像的极端化
3. 儿童何以消失：文革时期儿童电影的历史图景
    1) 历史语境下的制度性消失
    2) 电影中的形象性消失
    3) 银幕与真实的感知性消失
4. 儿童消失反思：儿童本位缺失与影像史观重建
    1) 儿童本位的缺失
    2) 影像史观的缺席
    3) 文革时期儿童电影的历史坐标
5. 结语
【参考文献】
【논문초록】

• 乔宁(浙江师范大学艺术学院副教授) | 교녕