战争记忆初探:以中国、日本战争电影为例
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摘要
第二次世界大战结束之后,中国、日本战争电影的主题多锁定在第二次世界大战的战史与人物上,探寻东亚战争记忆的形成与演变。其中,两国对影片主题的选定、对战争的认知及其制作过程具有诸多差异性。中国战争电影在再现军队发展、战争场景的同时,注重揭示民众在战争中的苦难以形成历史记忆,坚定和平发展的决心;日本战争电影虽然经历了一个漫长的发展过程,但经常采用刻意美化自己、对敌方冷血鞕尸的手法,无助于在第二次世界大战后与中国、韩国等周边国家及国际社会重建互信。更重要的是,由于缺乏对发动战争给受侵害各国与人民乃至本国人民造成沉重灾难的深刻反省及忏悔,背弃人类一再庄严宣誓的信守和平的承诺,日本战争电影异化为背负国家教化的使命,以科技包装的视听欢娱,凸显大举杀戮意义的盈利工具。
After the Second World War,the theme of Chinese and Japanese War Film was mainly about the history and figures of the Second World War,exploring the formation and evolution of the memory of East Asia War. However,when reproducing the military development and war scenes,Chinese war films pay attention to the hardship people suffered in the war in order to push the development of peace whereas Japanese war films often deliberately beautify Japanese armies and defeat the enemy ruthlessly,which makes no contribution to rebuild mutual trust with neighboring countries. More importantly,due to a lack of deep reflection and repent on the heavy disaster suffered by the victim countries,Japanese war films resort to be the mission which carries national education,audio and visual pleasure packaged with science and technology as a profitable tool which highlights the meaning of massive killing.
After the Second World War,the theme of Chinese and Japanese War Film was mainly about the history and figures of the Second World War,exploring the formation and evolution of the memory of East Asia War. However,when reproducing the military development and war scenes,Chinese war films pay attention to the hardship people suffered in the war in order to push the development of peace whereas Japanese war films often deliberately beautify Japanese armies and defeat the enemy ruthlessly,which makes no contribution to rebuild mutual trust with neighboring countries. More importantly,due to a lack of deep reflection and repent on the heavy disaster suffered by the victim countries,Japanese war films resort to be the mission which carries national education,audio and visual pleasure packaged with science and technology as a profitable tool which highlights the meaning of massive killing.
引文
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[16](美)Monaco,James.如何欣赏电影[M].周晏子译.台北:民国电影图书馆出版部,1983.
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[2](英)Puttnam,David.不宣而战:好莱坞vs.全世界[M].李欣等译.北京:中国电影出版社,2001.
[3]潘罡.十万貔貅,千里戎机[A].潘罡,林智祥,黄智明,张振芬企画撰文.战争电影专题:战争美学、战场经营、英雄形象影响[M].电影杂志,1991,(23).
[4]郑用之.又一页珍贵的电影史第一手资料:抗战建国电影制作纲领[J].今日电影,1979,(71).
[5]杜云之.中华民国电影史·上[Z].台北:“行政院”文化建设委员会,1988.
[6]皇甫宜川.中国战争电影史[M].北京:中国电影出版社,2005.
[7]周哲玮等.谢晋电影选集:战争卷[M].上海:上海大学出版社,2007.
[8]林林.世界各国战争电影总论[M].北京:中国广播电视协会网站,2008.
[9]赵建国.新时期电影对抗日战争电影的阐释[J].延安大学学报,1996,(2).
[10]许嘉祥.声纳室报告:《沉默的舰队》天马行空解读报告[M].台北:尖端出版公司,1997.
[11](美)Gibney,Frank.战争:日本人记忆中的二战[M].尚蔚,史禾译.北京:中央编译出版社,2003.
[12]李建军.军国之女:日本女性与《大东亚战争》[M].贵阳:贵州人民出版社,2001.
[13]沙鹬.由《八甲田山》与《二零三高地》看日俄战争[J].影响,1991,(22).
[14]黄仁.日本电影在台湾[M].台北:秀威信息科技公司,2008.
[15](澳)Mc Cormack,Gavan.附庸国:美国怀抱中的日本[M].于占杰,许春山译.北京:社会科学文献出版社,2008.
[16](美)Monaco,James.如何欣赏电影[M].周晏子译.台北:民国电影图书馆出版部,1983.
[17]克冰.海明威、托尔斯泰与战争主题[J].天津师大学报,1994,(6).