近年來中國主旋律軍事電影的票房相當出色，自1905年第一部軍事電影《定軍山》奠定了軍事電影的雛形，1989年中國第一部主旋律電影《開國大典》上映後，中國每年不定時的推出主旋律電影。又因2003年中國與香港簽署條約，促使香港導演紛紛北上至中國拍攝電影，將暴力美學融入於中國主旋律軍事電影中，透過電影中的意識型態促使人民塑造中國國家形象。本論文以《紅海行動》為主要研究對象，分析香港導演拍攝之主旋律軍事電影，再現了何種中國元素及中國形象。先期探討國家形象、意識形態理論、中國對非洲部署狀況及暴力美學，再以中國主旋律軍事片發展歷程、中國電影生產機制、中港合拍片及林超賢導演的電影敘事風格探討本論文，亦透過符號及鏡頭分析論點，剖析本論文研究對象再現哪些中國元素及形象。 In recent years, the box office of China's main theme military movies has been quite outstanding. Since 1905, the first military film “Dingjunshan” laid the embryonic form of military films. After China's first main theme film “Founding Ceremony” was released in 1989, China has been irregular every year. The launch of the main theme movie. In addition, the signing of a treaty between China and Hong Kong in 2003 prompted Hong Kong directors to travel north to China to shoot films, incorporating violent aesthetics into the main theme of military movies in China, and urging the people to shape China's national image through the ideology in the film. This thesis takes “Operation Red Sea” as the main research object and analyzes what Chinese elements and images of China are reproduced in the main theme military movies shot by Hong Kong directors. Firstly discuss the national image, ideological theories, China's deployment to Africa and the aesthetics of violence, and then discuss this thesis based on the development of China's main melody military film, Chinese film production mechanism, China-Hong Kong co-productions and the film narrative style directed by Lin Chaoxian. It also uses symbols and The lens analyzes the arguments and analyzes which Chinese elements and images are reproduced by the research objects of this thesis.
