Since the birth of "Naughty Kids" in 1922, Chinese children's films have been around for over a hundred years, but they have long been confronted with a situation of relatively scarce research materials. During the Cultural Revolution in China, due to political interference, only 14 children's films were released within ten years. Constrained by the "three Highlights" creative principle, the image of children has transformed from the fleshy "naughty little heroes" of the seventeen years to flawless, adult-like "all-round warriors". This article will focus on children's films during the Cultural Revolution period, taking the "Gao Da Quan" children's image as the research core. By combining the background of The Times and specific film cases, it will study the evolution logic and process of the dissolution and symbolic construction of image subjectivity from the initial stage, further generation, to the final formation and conclusion. The essence is that children's images have become the mouthpiece of political discourse, and individual subjectivity has been completely dissolved. It eventually becomes a replicable standardized political symbol. Expand the temporal dimension and depth of research on children's film images, provide a perspective for understanding the influence of external forces such as political discipline on the creation of film works, and enrich the scope of application of related research.