【正文】 As one reviewer said, “Today the last American hero is a Tom Hanks character with a small IQ.” People claim that it gets them in tough with their “inner child”. “To some, Gump, like Shakespeare’s fools, is a figure of sanity in an insane world。 to others, he marks a return to decency and basic family values.”(Hinson, 1994) Although Gump meets three presidents, he holds no political view. At the University of Alabama, he bees upon a crowd that is gathered to watch as George Wallace attempts to keep black students from attending class. The scene at the school is tense, but Gump is oblivious to the governor’s shoulder like a fan trying to get a view at a football game. Forrest Gump has bee the pop culture hero of the 1990s. And most importantly, Gump is worshipped as national hero by American masses. His action and his philosophy have been mimicked and adopted by numerous people. However, what we should reflect on is the inherent meaning behind this phenomenon.As an individual, he has no interest whatsoever in what is happening around him. He’s, exactly, indifferent, unmoved, and unchanged. After his encounter with President Kennedy, Gump blandly appraises the president, then adds that, “For no particular reason, somebody shot that nice young president while he was riding in his car.” But history doesn’t happen for “no particular reason”, by contrast, as a result of all kinds of forces in society. Gump lets us off the hook by suggesting that we needn’t bother ourselves with attempting to make sense of the world. People don’t seem to notice that Gump doesn’t direct his life in the way that most characters do and has no real motives or psychology.Traditionally, our notion of heroism involves deliberate action. Our heroes choose to do brave things or endure hardships. But when Gump behaves heroically, as he does in Vietnam where he rescues half of his unit and wins the Congressional Medal of Honor, he does so almost by accident. Because he doesn’t quite know what is going on.He is worshipped by the masses as a hero and icon, yet he knows no reason. People in his movie know nothing about Gump’s mind, just following him blindly and seeing him as a sage. This implies a time when the concept of heroism itself seems deeply promised and also a nation who holds blind worship. 5. Chinese Heroism: the Deification of Heroes and the New Heroism. Heroes in Traditional Chinese MovieIn Chinese traditional culture, heroism is always related to loyalty to the monarch and the nation, which can be easily found in the period of Spring and Autumn, or Three Kingdoms. Undoubtedly, that definition is in service to the feudal rule, so it is ideologically controlled by the rulers. The concept of heroism has been changed along with the evolution of time. During the period of War of Resistance, heroism was embodied as dauntless fight against enemy and dedication to found a new country. While recently, in the screens of China, heroism is especially manifested in two main forms: one in knighterrant plays, the other in military ones. The former succeeds mainly from knight errant novels written by novelists such as Jin Yong, Gu Long and Huang Yi. Such novels are always associated with romance, generally, a gallant man rescuing a beauty. Although stories like this are quite popular, heroism shown in the latter form is orthodox and concordant with the mon interest of Chinese people, thus in this study, we concentrate on the military plays.As for the big screen, since the founding of our country, a good many of excellent military movies have been produced, without exception, these movies display and eulogize the lofty demeanor and manner of modern soldiers who interpret heroism with brand new concept in both war and peaceful time. Movies such as “Terrifying Waves”, “Expedition” and “Taihang Mountain” are all excellent representatives.. New HeroismWe observe that, the trend of military novels inclining to heroism, exactly answers the current social spiritual demand. Man’s pursuit of spirit is eternal. When screens are full of materialism and consumerism, the masses feel a failure of despair and they need a sort of new spirit to refresh and recover. Under this climate, “Drawn Sword” is produced. Since its first broadcast in the second half year of 2005, it has been replayed in more than 200 local TV stations. The influence of this play is unbelievably profound. Today, if you type into “Drawn Sword Spirit” in the search of Google or baidu, you’ll get tens of thousands of news titled as “ real estate in China needs the spirit of drawn sword” or “China Mobile in new period needs the drawn sword spirit” and so on. The social influence and broad topics evoked by it have far surpassed the play itself. This spirit has penetrated in every fields of our country.We cannot help pondering what enables this play to be so influential. This play tells a violent story where Li Yunlong, a division mander of PLA, leads his troops to cooperate with the army of Kuomintang to fight against the Japanese invaders. The most distinguishing feature of this play lies in that it depicts successfully a brand new hero Li Yunlong. He is pletely different from that kind of traditional “high, huge and whole” hero that appeared during the Cultural Revolution.“When the ancient swordsmen meet the opponents by chance in the narrow road, however strong the opponents are, even they are firstclass and invincible, the swordsmen resolutely draw the swords. Even they die under the opponents’ swords, and they’re honorary…. This is our army soul: even if the enemy troops are out of all proportion to ours, or even if we fall into layers of encirclement, we dare to draw swords!” when Li Yunlong says this volubly, I don’t think he is just a warrior. By contrast, I am pleasantly surprised. The past war plays always contain only war rather than man, and the characters of the heroes are mostly empty and ideal. Now there are Shi Guangrongs (in the p