“社会主义现实主义凝视”将作为电影镜头语言的“凝视”与社会主义现实主义文艺思想相结合，意指中国革命现实主义电影在拍摄英雄人物时使用的特定视觉传达技法。该凝视具有视线的共享性与不可见性，在交互主体作用中实现了向拉康凝视理论的回归。其生成机制与视觉效用体现为：溢出镜头的画面界限；“缝合”想象空间与影像空间；使意识形态真实完成从角色到观众的衔接。作为图像的述行性行为，该凝视引发并强化了观看者与英雄人物的共情。

“Socialist-realist gaze,” linking gaze and socialist realist literary thoughts, refers to the visual communication of heroic figures on the external points off the screen in shooting Chinese revolutionary films. Such gaze, being invisible and with shared sight, returns to Jacques Lacan’s gaze theory because of its intersubjective functioning. During its generation and function, socialist-realist gaze breaks the limitation of pictorial space, extends the boundary of screen as a “quilting point,” and connects characters and audiences with ideological truth. As a performative image behavior, it arouses and strengthens the empathy between the viewers and the hero.