It is widely acknowledged that the action film has been one of Hollywoodu27s most successful products over the last three decades or so. However, many commentators, both popular and academic, continue to marginalize or dismiss the value of the action film as a critical, socially conscious, and aesthetically potent artefact. Scholarship that has approached the action film has tended to be based upon readings of gender and political ideology. Aesthetic readings of 1980s action films (the decade when the genre was at its peak), such as Eric Lichtenfeldu27s Action Speaks Louder (2004), have tended to be dismissive of the films as examples of propagandistic, exceedingly patriotic u27Reaganite entertainmentsu27. It is the intention of this article, through a close analysis of George P. Cosmatosu27 1986 film Cobra, to demonstrate that - rather than simply a piece of replicatory right-wing propaganda - the 1980s action film (and action cinema in general) challenges the notions of American political identity, patriotism and heroism upon which it is founded, thereby opening the way for a deeper critical understanding of American cultural and mythical impulses at large.
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机译：众所周知，在过去的三十多年中，动作片一直是好莱坞最成功的产品之一。但是，许多评论家，无论是大众评论家还是学术评论家，都继续将动作片的价值视为边缘性的，具有社会意识的和美学上有力的人工制品，或者对此予以否定。接近这部动作片的奖学金往往基于对性别和政治意识形态的解读。诸如埃里克·利希滕费尔德（Eric Lichtenfeld）的《动作说话大声》（Action Speaks Louder，2004）等1980年代动作片的美学读物（2004年）倾向于不屑一顾，作为宣传，极具爱国主义的例子。 u27。本文的目的是通过对1986年的乔治·P·科斯马托斯（George P. Cosmatos）的电影《眼镜蛇》（Cobra）进行仔细分析，来证明1980年代的动作片（而不是一般的动作电影）不仅是复制性的右翼宣传，挑战了它所基于的美国政治认同，爱国主义和英雄主义的观念，从而为对美国文化和神话冲动的更深刻的批判性理解开辟了道路。
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