摘要
本文通过对《南京》与《南京大屠杀》两部电影文本的分析,探索再现历史与叙事真实之间的复杂关系。集体记忆可以通过电影画面产生的感官效果,实现"历史在场"般的现实感。还可以通过对真理的诉求,排除异质性叙述,进而垄断历史话语,宣称统一性的"真实"。同时,个人记忆也可以通过其主观情感和个性语言的阐释性,增加叙述的复杂性和丰富性,从而带来令人信服的"真实"感。
Through textual analyses of two films,Nanking and The Nanjing Massacre,this paper explores the complex relation between a historical representation and a truthful claim of history.The lively sensory effects a cinematic representation of a collective memory produces are not only oriented toward 'realism',but also oriented toward 'truth'.If the visual representation in The Nanjing Massacre succeeds in being realistic,it is merely a means,not an end.The film claims to be a historically true reality and excludes all other claims.In contrast,a representation of an individual memory needs a personalized perspective,which makes possible interpretations and reflections on 'historical truth'.
出处
《外国文学》
CSSCI
北大核心
2008年第1期79-83,共5页
Foreign Literature
