本论文通过对当代大陆抗战电影的研究发现,近三十年来,银幕上的日本女性形象一方面呈现出多元化的趋势,母亲、妻子、从军慰安妇以及女学生、女军官等相继登场,且复杂的人性逐渐得到表现。但另一方面,在这貌似不断变化的多元形象下却潜藏着作为战争受害者和大众消费对象的共同特质,而这一特质在无形中强化了日本方面存在的偏重强调自身是受害者的战争观,并暴露出此类电影对历史认知的不足。其实在战时法西斯主义的极权统治下,日本女性绝非只是战争的无辜受害者,她们同样是在“铳后”支持日本对外侵略的重要力量。因此,笔者认为有必要重新审视日本女性与战争之间的关系,反思抗战电影创作上的历史认知问题。 Through the research on contemporary war films in mainland China, this thesis finds that in the recent three decades, the Japanese female images on the screen have shown a diversified trend. Mothers, wives, comfort women, female students and female officers have appeared one after another. Complex human nature is gradually manifested. But on the other hand, under this seemingly changing multivariate image lurks in the common trait as a victim of war and the consumer of the general public, and this trait virtually reinforces Japan’s war that emphasizes being the victim of itself View, and exposed the shortcomings of the history of such films. In fact, under the totalitarian rule of Fascist wartime, Japanese women were by no means just innocent victims of the war. They are also important supporters of Japan’s external aggression in the post-Soviet period. Therefore, I think it is necessary to re-examine the relationship between Japanese women and war and reflect on the historical cognition in the war movie creation.