| Acknowledgements | 第1-7页 |
| 摘要 | 第7-8页 |
| Abstract | 第8-12页 |
| Chapter One Introduction | 第12-16页 |
| Chapter Two Historical and Religious Origins of American Hegemony of Discourse | 第16-21页 |
| ·The Exile and Salvation of the Puritans | 第16-17页 |
| ·The Legend of "a city on the hill" | 第17-18页 |
| ·Manifest Destiny and the Extinction of American Natives | 第18-19页 |
| ·The Frontier Spirit and the Cowboys | 第19-21页 |
| Chapter Three The Last Frontier in the Imagination of Dances with Wolves | 第21-31页 |
| ·Western as a Film Genre | 第21-23页 |
| ·Redemption in Dances with Wolves | 第23-26页 |
| ·Dunbar's Solitary Loneliness | 第24页 |
| ·Self:Reflection:Stereotypes and Reinterpretation | 第24-26页 |
| ·Renewal and Renaming as Dances With Wolves | 第26页 |
| ·Significance of Redemption | 第26-31页 |
| Chapter Four The New Frontier and Apocalypse Now | 第31-45页 |
| ·American Films on Vietnam War | 第32-33页 |
| ·A Mission and a Question in Apocalypse Now | 第33-34页 |
| ·Searching for the Answer | 第34-39页 |
| ·Willard's Redemption | 第39-45页 |
| ·A Mission and a Ritual | 第39-41页 |
| ·Lance,Kilgore,Kurtz and Willard | 第41-43页 |
| ·Ambiguity:Anti-War or Pro-war | 第43-45页 |
| Chapter Five American Hegemony of Discourse and Redemption | 第45-53页 |
| ·American Frontier and the Lost Hegemony | 第45-46页 |
| ·Myths about Super-Soldiers | 第46-47页 |
| ·Discourse and Power in Films | 第47-51页 |
| ·Voice-Over and the Narrator | 第47-48页 |
| ·Language and Power | 第48-49页 |
| ·Knowledge and Power | 第49-50页 |
| ·Long-shots and Close-ups in Depicting Killings | 第50-51页 |
| ·Double Redemption | 第51-53页 |
| Chapter Six Conclusion | 第53-55页 |
| Bibliography | 第55-57页 |
