帝国视阈与殖民主义电影中的地方和江南风景

Places and Sceneries South of the Yangtze River as Depicted in the Imperial Context and in Films of Colonialism

东北沦陷时期由日本殖民者和伪满当局建立的文化侵略机构"满映",独自或与日本本土电影公司合作,拍摄了大量宣传殖民主义"国策"毒素的电影。其中有若干影片通过日本男性征服中国女性的所谓浪漫爱情故事,把帝国主义侵略者美化为带领亚洲国家和人民走向"东亚共荣"的"解放者"与领导者。所谓"解放"或异国之恋的发生地域和背景,涵盖了从沦陷的东北、华北到江南各地,特别是苏州的背景、风景及风物一再出现。这些地方风景风物的历史自然意义被殖民化的电影叙事征用和符号化,套叠和转化为遮蔽殖民帝国的"国策"宣传、为侵略美化和"脱罪"的"温柔"叙事,透露和暗藏着殖民主义电影在地方风景风物等"象征资源"和表意符号中渗透的文化帝国主义视阈、叙事装置和方式,以及法西斯主义电影美学的症候。

During the Japanese occupation of Northeast China, a large number of films were produced, either independently or collaboratively by institutions tasked with cultural invasion. These institutions were established by Japanese colonizers and the puppet Manchuria government to propagandize the toxic "national policy" of colonialism. By telling the so-called romantic love tales of Japanese men conquering Chinese women, several films purposefully portray imperial invaders as "liberators" and leaders who guided Asian countries and people towards "East Asia Co-prosperity". The origins as well as the backgrounds of the so-called "liberation" and the exotic love tales covers various regions, from the occupied Northeast to North China and to all places south of the Yangtze River;in particular, their sceneries and local customs repeatedly appeared in the films. The historical and natural meaning of these sceneries and local customs was narrated and symbolized in a forceful manner;they were manipulated into the "tender" narration that beautifies and glosses over the propaganda of the "national policy" of imperial colonization. These manipulations simultaneously reveal and conceal the perspective and the narrative strategies of cultural imperialism and fascist aesthetics.