抗战电影的历史图景与当代言表  

The Historical Picture and Contemporary Statements of the Anti-Japanese War Films

作　　者：黎风[1] LI Feng(School of Literature and Journalism,Sichuan University,Chengdu,Sichuan 610064)

机构地区：[1]四川大学文学与新闻学院,四川成都610064

出　　处：《绵阳师范学院学报》2020年第3期1-5,15,共6页Journal of Mianyang Teachers＇ College

摘　　要：历史叙事与当代抒情的关联是抗战电影的一个极为突出的特点,既赋予了抗战电影作为历史文化实践的正当性和有效性,又造成了抗战电影的价值困惑与文化矛盾。这种状况既体现为抗战电影与抗战历史的创造性接合,又体现为自我叙述的认同导向与情感性。它们共同表明了在不同情境中抗日战争可以被移交给大众的程度与方式。面对抗战电影实践所呈现出的诸多问题,以及关于抗日战争的电影与作为电影之对象的抗日战争统合在一起建构的“历史画面”,如何使抗战电影在审美、情感、认知等诸多层面作为一种有效地自我言说与朝向世界言说的历史文化实践,需要提请历史意识的位置。The relationship between historical narration and Contemporary Lyric is one of the outstanding features of the anti-Japanese war films,which not only gives the legitimacy and effectiveness of the anti-Japanese war films as a historical and cultural practice,but also causes the value perplexity and cultural contradiction of the anti-Japanese war films.This situation not only reflects the creative combination of the anti-Japanese war movies and the Anti-Japanese War history,but also reflects the self-narrative orientation and emotion.Together,they show the extent and manner in which Second Sino-Japanese War can be handed over to the public in different contexts.In the face of the many problems presented by the practice of the anti-Japanese war films,and the“historical picture”constructed by the integration of the Second Sino-Japanese War films and the Second Sino-Japanese War as the objects of the films,how to make the anti-Japanese war films as an effective historical and cultural practice of self-speaking and speaking to the world in aesthetic,emotional,cognitive and other aspects,needs to draw the position of historical consciousness.

关 键 词：抗战电影 历史叙事 当代抒情 历史意识 

分 类 号：J97[艺术—电影电视艺术]