近年來中法合拍片在中國巨額電影票房市場上找到共同利基，成為未來中國電影的主流，但是在合拍片裡隱藏了意識型態價值。本論文著重的重點在於探討中法合拍片中國形象的分析，先提及中國與法國電影發展、電影產業、兩國合拍片的概況，並以阿圖塞的意識型態理論，探討合拍片，是為了迎合西方評審而拍攝，當評審在觀看時，是否真的能以客觀的角度來評選？因此，筆者想從電影理相關意識型態理論探討此問題。將以符號學、鏡頭分析，分析中法合拍片《勇士之門》為主要研究對象。 In recent years, Sino-French co-productions have found a common niche in China's movie box office market. While ideological values in coproduction are concealed, it has become a mainstream in Chinese cinema. The focus of this paper is the analysis of Chinese portrayal in the Chinese and French co-productions. The development of the Chinese and French films will be examined along with, the film industry, the co-productions of the two countries, and the co-productions with Artuse's ideological theory. In the interest of catering to western judges, the ideology of film theory will be delved into. A question to keep in mind is, can the objective point of view be pointed out? The research objective, is to analyze the Chinese-French co-production film ＂The Warriors Gate＂ using semiotics and lens analysis.
