文化外交的作用及局限:冷战初期的日本电影节外交(1954—1956年)

The Effect and Limitations of Cultural Diplomacy:Japan’s Film Festival Diplomacy at the Beginning of the Cold War

由日本著名电影人永田雅一发起、成立于1954年的东南亚电影节,不仅是亚洲历史最悠久的电影节,也是美国在亚洲开展"文化冷战"的直接产物。通过研究东南亚电影节的诞生背景以及日美两国发起电影节的不同战略目的,可以管窥冷战初期日美文化外交关系的多维面相。通过分析东南亚电影节的战略定位及其影响,亦能看出战后日本政府与民间人士协力开展的"电影节外交"与其"重返东南亚/亚洲"这一宏观战略目标之间的紧密联系。然而,结合永田雅一的从业经历可以发现,这种未认真清理军国主义文化侵略思想遗毒的外交理想,很容易使电影节其他成员回想起二战时期被日本殖民的惨痛记忆,继而激起文化民族主义的"感性抵抗",最终导致冷战初期日本对东南亚开展的文化外交收效甚微。

The Southeast Asian Film Festival,which established in 1954 by Nagata Masaichi is not only the oldest film festival in Asia,but also a direct product of the "cultural Cold War"waged by the United States. From the perspective of the background of the Southeast Asian Film Festival and different values of the film festival initiated by Japan and the U. S.,it can be discovered that there were the multidimensional aspects of Japan-U. S. "cultural diplomacy"at the beginning of the Cold War. From the perspective of the strategic positioning of the festival and its effects,the close connection between the post-war"film festival diplomacy"conducted by the Japanese government and its strategic goal of"returning to Southeast Asia/Asia"can be also seen. However,Nagata’s experience reveals that Japanese diplomatic ideals, which have not cleaned up the legacy of militarism and cultural aggression,reminded other members of the festival of the painful memories relating to the Japanese colonization during WWII and then stimulated the"sentimental resistance"based on the cultural nationalism. As a result,Japan’s"cultural diplomacy"in Southeast Asia at the beginning of the Cold War had yielded little effect.