从历史到电影:《赛德克·巴莱》与《南京!南京!》的抗日想象对比  

From the History to the Movie:Anti-Japanese Imagination in Seediq Bale and Nanjing!Nanjing!

作　　者：刘芳[1,2] 

机构地区：[1]德宏师范高等专科学校中文系,云南芒市678400 [2]北京大学中文系,北京100871

出　　处：《福建师范大学学报（哲学社会科学版）》2015年第2期87-94,169,共8页Journal of Fujian Normal University:Philosophy and Social Sciences Edition

摘　　要：在魏德圣执导的电影《赛德克·巴莱》中,莫那·鲁道等人清晰地区分了"异族"(日本人)、汉人、蕃人、马赫坡部落和其他部落之间的关系,并以"差等之爱"的儒家原则进行区别对待,由此"左倾"走向坚决的抗日斗争;而花冈一郎和二郎在此过程中成为了身份纠结的"中间人物"。与此相对照,大陆反映"南京大屠杀"的影片《南京!南京!》表现出英雄缺位的焦虑,在敌人阵营中寻找温暖角色。本文采用在电影文本和社会历史之间巡视的"互文性"方式,以期获得更清晰和深入的视野。The film Seediq Bale directoed by Wei Te-sheng anti-Japanese violently: Mona Rudao clearly distinguished alien races( Japanese) from the Han people and foreigners,Mahebo tribe from other tribes,and trested them with Hierarchycal love of Confucianism and held out against Japanese; some others becamed middle character. By contrast,Nanjing! Nanjing! shew the anxiety of no the hero and searched for the kindness in the enemy. The intertextuality between the film and history will get a clearer and deeper field of view than before.

关 键 词：《赛德克·巴莱》 《南京!南京!》 抗日想象 身份认同 

分 类 号：J951.1[艺术—电影电视艺术]