大岛渚电影中的朝鲜叙事

Oshima Nagisa and Korea

20世纪90年代,韩国观众从大岛渚20世纪六七十年代创作的涉及朝鲜民族的影片中感受到类似“同代感”的观看经验,这种经验早在这些作品被创作的年代就存在于大岛渚对朝鲜战争和战后朝鲜半岛现实的“同代”体验中。在韩国后来产生的反响相当于一种因类似历史境遇而产生的跨年代、跨国族共感,斋藤以“共代性”为之命名。大岛渚当年从在日朝鲜人、朝鲜战争以及韩国战后现实获得滋养,这些“朝鲜经验”成为其反思日本帝国殖民历史及其对亚洲战争责任的创作基础。

In 1960 s and 1970 s, Oshima Nagisa created a series of films about Korean nationality and reality of South Korea society. It was not until 1990 s that South Korean audiences got chances to watch Oshima’s works, they had a sense of "contemporary" with those films. However, in the era when those works were filmed, Oshima just had same sense of "contemporary" about Korean War and the reality of Korean Peninsula after the WWⅡ. The sense of belatedness or lost opportunity, made even more palpable by identifications across national borders and between generations, resulting in powerful alignments across time and space that could be called "con-temporalities," is an especially important feature of Oshima’s own filmmaking.