抗战片作为宣扬主旋律和国家意识形态的题材类型,在我国影视作品中占有不小的比重。不论是用作献礼片还是地方政绩,在宣传官方意识形态方面其作用不可小觑,电影作为一种可视化的传播媒介被广泛地运用。在展现红军骁勇善战的红色电影中,为前人立传树碑的影片俯首皆是,在成长模式、英雄模式的电影文本书写下,在一次次战火硝烟和浴血奋战的抗战史诗中塑造了众多光辉鲜明的英雄楷模形象。《红星闪耀》却反其道而行之,从邓小平办《红星报》这一事件入手,将战争退到幕后,从另一个更平民化的角度将英雄人物从传统模式中释放出来,对这位领导人进行“去英雄化”的叙述。影片遵从传统的线性叙事,塑造了邓小平、赵赣生这一组二元对立人物,但又别出心裁地增添了细伢子 Anti-war films as the theme of advocating the theme of the national ideology and type, occupy a large proportion in the film and television works in our country. Whether it is used as a gift or local performance, its role in publicizing official ideology can not be underestimated. Films are widely used as a visual medium of communication. Among the red movies showing the bravery and bravery of the Red Army, numerous films were written in favor of their predecessors, under the mode of growth and heroic films, in the war epic of war and bloody battles Shining bright hero model image. “Red Star Shines” is in the opposite direction. Starting with the case of “Red Star” by Deng Xiaoping, the war will be put behind the scenes and the heroic figure will be released from the traditional model from another, more popularized point of view. Leaders carry out the “heroization” narrative. The film follows the traditional linear narrative and shapes the group of binary oppositions like Deng Xiaoping and Zhao Gansheng,