语义的浮动与暧昧——从战后日本二战电影的历史表述透视《起风了》

Semantic Floatation and Ambiguity: To Grasp the Essence of“ The Wind” from Post–war Japan's Historical Description

被世界各地粉丝予以推崇的、日本动画大师宫崎骏退休前的动画电影《起风了》,曾寄望于冲击奥斯卡最佳动画长片却最终落败。原因在于该片极具争议性,焦点在于如何看待影片中出现的曾是侵略者的日本军人,如何评价曾用于偷袭珍珠港和绞杀亚洲人民的零式战斗机及其设计师堀越二郎。即使宫崎骏在创作时有"反战"思考,但影片对于军国主义的不置可否的模糊与暧昧,致使该作品极可能成为否定日本侵略历史浪潮的样品和附属。

Loved and promoted by fans from all over the world, the Japanese animation master Hayao Miyazaki＇s animation film ＂The Wind＂ had hoped to win the Oscar for best animated feature film, but did not succeed. The reason for its failure lies on its controversial nature, which focuses on how to think of the Japanese soldiers in the film who were once aggressors, and how to evaluate zero fighter planes and their designer Silurian, as those planes were used in the attack on Pearl Harbor and the strangulation of the Asian people. Although Hayao Miyazaki had some ＂anti–war＂ thinking in its creation, the film＇s vague and ambiguous attitude toward militarism enables it to be a likely sample and subsidiary production to negate Japanese aggression history.