| ACKNOWLEDGEMENTS | 第5-6页 |
| ABSTRACT | 第6-7页 |
| 摘要 | 第8-12页 |
| CHAPTER ONE INTRODUCTION | 第12-22页 |
| 1.1 INTRODUCTION TO KATHRYN BIGELOW'S THE HURT LOCKER | 第12-14页 |
| 1.2 LITERATURE REVIEW | 第14-15页 |
| 1.3 THEORETICAL FRAMEWORK: THEORY ON POSTMODERN CINEMA AND LINDA HUTCHEON'S THEORY ON PARODY AND POSTMODERNISM | 第15-17页 |
| 1.4 THESIS STATEMENT, RESEARCH QUESTIONS, AND SIGNIFICANCE OF THERESEARCH | 第17-19页 |
| 1.4.1 Thesis Statement | 第17-18页 |
| 1.4.2 Research Questions | 第18页 |
| 1.4.3 Significance of the Research | 第18-19页 |
| 1.5 THESIS STRUCTURE | 第19-22页 |
| CHAPTER TWO THE HURT LOCKER AS A POSTMODERN FILM | 第22-36页 |
| 2.1 THE HURT LOCKER: A GENRE BENDING EXPERIENCE | 第24-25页 |
| 2.2 GENERIC PASTICHE | 第25-29页 |
| 2.3 SIMULACRUM OF THE SIMULACRUM | 第29-32页 |
| 2.3.1 The Iraq War as a Postmodern War? | 第30-31页 |
| 2.3.2 The War and the Game | 第31-32页 |
| 2.4 FRAGMENTATION: TIME-SPACE COMPRESSION | 第32-36页 |
| 2.4.1 The Never-ending Time Loop | 第33-34页 |
| 2.4.2 The Chaotic Street of Bagdad | 第34-36页 |
| CHAPTER THREE UNLOCKING THE POLITICS OF POSTMODERN REPRESENTATION IN THE HURT LOCKER | 第36-50页 |
| 3.1 DE-NATURALIZING THE NATURAL | 第37-39页 |
| 3.1.1 The American Hero as a Myth | 第37-38页 |
| 3.1.2 The Playful Re-enactment of Orientalist Paradigm | 第38-39页 |
| 3.2 PARODY AS A STRATEGY OF POSTMODERN REPRESENTATION | 第39-45页 |
| 3.2.1 William James as a Parody of the American Hero | 第40-42页 |
| 3.2.2 A Parodic Version of“Salt & Pepper” | 第42-43页 |
| 3.2.3 The Iraqi Boy as a Parody of the Victimized“Other” | 第43-45页 |
| 3.3 DOUBLE-CODED POLITICS OF POSTMODERN REPRESENTATION | 第45-47页 |
| 3.4 BEYOND“THE HURT LOCKER” | 第47-50页 |
| CHAPTER FOUR CONCLUSION | 第50-54页 |
| WORKS CITED | 第54-57页 |
