自从有了战争,也就有了康德式的追求“永久和平”的反战梦想。20世纪以来,人类社会先后爆发了两次世界大战,给人类带来了深重的灾难,也直接带动了反战思潮的兴起。从原理意义上说,反战无关乎正义与否,它反对的根本就是“战争”这一最极端的暴力形式。人类也许无法完全驱除战争的阴霾,但反战思潮本身即是人类文明走向理性、进步的希望与象征。根据对战争的态度,战争电影主要有“拥战”和“反战”两种类型;根据战争的性质,“拥战”类型的电影有“好战”与“抗战”两种主题样式,而反战电影又有“反对”和“反思”两个层面的理解。反战电影研究在意义上是多层面的,它不仅涉及电影美学的理论与实践问题,还关乎民族国家命运与人类学的价值观思考。 Ever since the war, there has been a Kantian anti-war dream of pursuing “permanent peace.” Since the 20th century, two world wars broke out in human society successively, which have brought great disaster to human beings and directly led to the rise of the anti-war trend of thoughts. In the sense of principle, the anti-war has nothing to do with justice or no opposition. It opposes simply the most violent form of “war ”. Human beings may not be able to completely eliminate the haze of the war, but the war of thought itself is the hope and symbol of the progress of human civilization toward reason and progress. According to the attitude toward the war, there are mainly two types of war films: “war” and “antiwar”; according to the nature of the war, films of “war” type have “warlike” and “ ”Anti-Japanese War,“ the two theme styles, and anti-war movies have ”objection“ and ”reflection" two levels of understanding. The study of anti-war movies is multi-faceted in the sense that it not only involves the theory and practice of movie aesthetics, but also concerns the values ​​of nation-state fates and anthropology.