梗概：
本文通过对中国电影发展史的某些方面的探讨，提出电影研究中的"跨国电影"的概念。文章着重讨论民族电影形成的历史与条件，民族电影与现代民族国家的构成的关系，性别话语在电影文本中的重要性。在20世纪末跨国资本主兴起的格局中，跨国电影应运而生，从而使我们反省电影研究中的"民族电影"这一概念在今天是否仍然适用。"跨国华语电影"包括大陆、台湾、香港的影片，这些影片中的身份认同、国家、性别构造等问题值得我们研究。
Through an examination of the history of Chinese cinemas, the essay proposes the concept of "transnational cinema" in film studies. This study investigates the history and conditions of Chinese national cinema, the relationship between national cinema and the construction of the modern nation-state, and gender discourse in film texts. With the rise of transnational capitalism at the end of the 20th century and consequently the appearance of transnational cinema, it is time to reconsider the suitability of the term of "national cinema" in film scholarship. "Transnational Chinese cinemas" include films from mainland China, Taiwan, and Hong Kong, and the purpose is precisely to investigate the questions of identity, nationhood, and gender in these films.