Abstract: The relationship between the considerably booming comedy films and the social reality in China and other issues such as the realistic nature and realistic spirit of comedy films are without doubt worthy of indepth exploration and analysis. This paper, in the perspective of the “allegorization” of films, takes “reality textualization” and “theme allegorization” as the starting point, analyzes and expounds the artistic features of three representative subtypes of Chinese comedies and the relationship between allegorization and reality, concludes that comedy as an important type of film connects with reality, i.e. “links to the grassroots”, which is also a crucial reason why comedies are favored by audience and break box office records time again. Different types of comedies vary in reflecting reality or allegorizing in spite of some distortions and warps. Nevertheless, be it a black comedy which aims at value deconstruction and social stitching, or a metropolis love comedy which carries middle class′s dreams and imagination beyond reality, or a Fengstyled comedy which expresses secular concern, each presents allegorized images of “one or another type of reality” in China. Through the ideological analysis of functions of comedy films such as its allegorized expression of reality, healing by dreammaking and soul consolation to the social men, we can further understand the irremovable complicated relationship between comedies and the “entertainmentoriented” “era of grand comedies” on spiritual and cultural levels.

Key words:  comedy films, allegory, ideology, allegorization, types, reality