日本“军神电影”的记忆装饰与还真  

Memory decoration and authenticity of Japanese“military God film”

作　　者：陶赋雯 TAO Fuwen(Film Television and Communication College of Shanghai Normal University,Shanghai 200234,P.R.China)

机构地区：[1]上海师范大学影视传媒学院,上海200234

出　　处：《重庆大学学报（社会科学版）》2021年第3期88-99,共12页Journal of Chongqing University(Social Science Edition)

基　　金：国家社会科学科基金艺术学项目“新世纪中日二战题材电影比较研究”(20BC038)。

摘　　要：通过追溯日本"军神"文化,可以考察符号塑像的军国主义历史在当代的"影像降格"。具体来说,战后日本通过多部二战电影中日本海军联合舰队长官山本五十六的形象演绎,实现"二战军神"从"神格"还原到"人格"的情感纳接,成为被影片美化的"反战"和平者,由此稀释其战争罪恶。在当代昭和怀旧思潮下,日本"二战军神"银幕"重生",引发了战败雪耻的招魂感召与"后记忆"遗志继承。而与二战相关的历史人物与"记忆之场"被日本不同媒介在情感引导中有意歪曲历史,篡改因由或选择性遗忘,最终成为历史记忆的"反记忆"。By tracing back the Japanese "military God " culture, we can investigate the "image degradation"of the militarism history of symbolic statues in contemporary times. Specifically,after World War Ⅱ,Japan realized the emotional acceptance of "World War Ⅱ military God"from "divinity"to "personality"through the image deduction of Yamamoto Isoroku,the commander of the Japanese navy joint fleet in many World War Ⅱ movies,who became an "anti-war"peacemaker beautified by the movies,thus diluting its war crimes. Under the current trend of Showa nostalgia,the rebirth of Japan’s"World War Ⅱ military God"on the screen has triggered the evocation of the humiliation of defeat and the inheritance of "post memory". The historical figures and "field of memory"related to World War Ⅱ are deliberately distorted,tampered with or selectively forgotten by different Japanese medias in their emotional guidance,and eventually become the "anti-memory"of historical memory.

关 键 词：日本军神 山本五十六 文化记忆 影像降格 

分 类 号：J905.313[艺术—电影电视艺术]