本文以〈團圓〉與《英雄兒女》為討論文本進行比較研究。小說〈團圓〉是巴金在1961年8月於《上海文學》發表之作品，文本的時空背景設定在韓戰時期的朝鮮戰場，內容反映中國抗美援朝戰爭之歷史精神。1964年，毛烽與武兆堤根據〈團圓〉進行改編，並由長春電影製片廠拍攝成電影《英雄兒女》。然而，中國文化大革命開啟後，〈團圓〉被控「鼓吹和平主義」受到批判；《英雄兒女》則被控為「宣傳戰爭之恐怖」。筆者認為，當我們閱讀〈團圓〉時，應將其視為巴金在政治意識與人道主義精神之間的「協商」。相較之下，電影《英雄兒女》則在創作上與當時電影的政治批評顯得密合。不過，在政治環境瞬息萬變的「十七年」與文革時期，文藝創作者似乎難有一套足以安身的創作規則，在巴金與毛烽身上，我們看到那代中國文藝創作者之無奈。

xBa Jin wrote the story “Tuanyuan” (“Reunion”) in 1961. It describes a family reunion during the Korean War and the spirit of Chinese soldiers who fight in it. Then Mao Feng and WuZhaoti made the film adaptation Yinxiong Ernu (Heroic Sons and Daughters) in 1964. When the Cultural Revolution began, however, both of them were critiqued politically: “Tuanyuan” was denounced as propaganda for pacifism, and Yinxiong Ernu was accused of over-emphasizing the horrors of war. This article compares the two texts in detail and makes the case that while, on the one hand, “Tuanyuan” shows us how Ba Jin painstakingly negotiates with the dominant political ideology to accommodate his longheld humanism, on the other hand, Yinxiong Ernu toes the political line more compliantly but does not manage to save itself from political critique due to its connection with the original author Ba Jin. It is obvious that during the Seventeen Year period (1949-1966) hardly any writers or artists could find a safe place under the Chinese Communist regime.