本研究旨在探討中國大陸公安題材電影的產製、以及公安警察形象於電影監管審查制度下的建構過程。 中國大陸自1978年實施改革開放政策後,經濟急速成長,2010年時已成為世界第二大經濟體,其電影市場因此隨之蓬勃發展。作為崛起中的世界強權,中國大陸政府亦致力於電影產業發展,其對電影監管審查之制度與判準亦更加完善。 基於政府形象宣傳的需要,公安題材電影因此受公安警察部門的重視、審查和支持。然而,正如研究結果顯示,公部門的支持並無法保證公安題材電影的口碑與票房。本研究以公安題材電影《非凡任務》為例,運用敘事分析之研究方法,並與《湄公河行動》進行比較研究,討論兩者於警察破獲跨境毒品犯罪情節之鋪陳、香港警匪片商業化元素之關注,暴力美學之展現,以及畫面奇觀之呈現等面向。 研究發現,相較於《湄公河行動》,《非凡任務》更符合中國大陸現行電影審查制度之規範,且透過建構英雄形象與置入職業標誌元素,再現了中國大陸公安警察的正面形象。再者,政府與創作團隊透過審查制度的彈性助益了公安題材電影的創作發展,使電影媒介能作為幫助宣傳警察正面形象的工具之一。
The thesis aims to deal with the process of the Chinese police movie production and the construction of the police images under the government’s film censorship system. The economic reform since 1978 has made China become the second-largest economy in the world, and created a large domestic film market. With the ambition to be a superpower in the world, the Chinese government has been devoting to the development of movie industry. In the meantime, the clearer criteria of the censorship has been created as well. Due to the need for the government propaganda, the police movies, accordingly, have been highly emphasized, censored, and supported by the Chinese Ministry of Public Security (MPS). As the research reveals, however, support from the MPS cannot guarantee the success of a police film. By deploying the case of “Extraordinary Mission” and using the narrative analysis, this thesis shows that realisticity and delicateness of the movie plots play a more critical role in the quality of the police movies. Furthermore, the film censorship does not necessarily cause the predicament of the movie industry. On the contrary, clear criteria enhance the production of high-quality police movies.