研究結論首先歸納出女性形象的類型化，在好萊塢電影敘事類型化的公式下，大部分好萊塢所呈現的戰爭電影有將女性類型化的趨勢。再者，父系霸權存在於大部份的好萊塢戰爭電影當中，女性的形象以及存在意義也深深的被父系意識形態所影響，並且在這層影響之下，女性在戰爭電影當中仍舊被視為客體而非主體，意即在戰爭電影當中女性的主體意識非常的薄弱。同時研究結論也發現好萊塢的戰爭電影有著微妙的厭女現象。 War movies often talk about the friendship between soldiers and the brutality of war, but war movies often ignore the feelings of female. This research use Feminist to figure out female’s image and meaning in war movies. This research focus on normal female’s position in war movies and choose four different historic wars such as American Civil War, World War I, World War II and Vietnam War to be the background of films. The reason to choose these wars is because the age of these wars is close to the rise of female consciousness. The target of the early war movies is to encourage younger to join the army, but recently more war movies try to probe humanity and the justification of wars. More and more war movies start to pay attention about female’s story.
This research use three different elements such as family, love and moral to analyze six Hollywood’s war movies like We Were Soldiers, A Very Long Engagement, The Deer Hunter, Cold Mountain, Captain Corelli''s Mandolin and Pearl Harbor. Trying to figure out how those elements affect female’s importance and patriarchal hegemony in war movies.
First, a part of Hollywood’s war movies generalize female’s image and meaning. Second, Patriarchal hegemony still exist in war movies. Patriarchal hegemony also effect female’s image and meanings in war movies. Third, Misogyny exists in a part of Hollywood’s war movies.