数字人文视域下“满洲映画协会”文化殖民考察  

Cultural Colonization of“Manchukuo Film Association”from the Perspective of Digital Humanities

作　　者：冯栋柱[1] FENG Dongzhu

机构地区：[1]北华大学东亚历史与文献研究中心,吉林132013

出　　处：《北华大学学报（社会科学版）》2021年第3期60-69,152,共11页Journal of Beihua University(Social Sciences)

基　　金：国家社会科学基金重大项目“近现代日本对‘满蒙’的社会文化调查书写暨文化殖民史料文献的整理研究(1905—1945)”(19ZDA217)的阶段性研究成果。

摘　　要：在20世纪三四十年代持续侵华过程中,日本利用“总力战”体制全面整合战争所必需的军事、政治、经济、文化力量。除却传统的报刊、杂志以及广播等文化殖民力量,日伪当局还将具有强大宣传教化攻势的“电影”武器纳入战时活动当中。“满映”所谓的“电影教育”其目的是为日本和伪满洲国“国策”服务的,鼓吹“日满一心一德”,美化日本帝国主义的侵略行径,奴化中国人民,丑化中国抗日活动,实质上服务于日本的侵华战争。“满映”的创建过程,以及演员招募、导演择选、影片配给等都从细节之处表明上述的“电影教育”逻辑,文化殖民意图毋庸置疑。During its continuous aggression against China in the 1930s and 1940s,Japan used the“total force war system”to fully integrate the military,political,economic and cultural forces necessary for the war.In addition to the traditional cultural colonial forces such as newspapers,magazines and radio,the Japanese puppet authorities also incorporated the“film”weapon with a powerful propaganda and indoctrination offensive into wartime activities.The so-called“film education”of“Manchukuo Film Association”aimed to serve the“national policy”of Japan and the puppet Manchukuo.It advocated“Japan and Manchukuo unite with one heart and one mind”,glorified the aggression of Japanese imperialism,enslaved the Chinese people and vilified China’s anti-Japanese activities,and essentially served Japan’s war of aggression against China.The establishment process of“Manchukuo Film Association”,the recruitment of actors,selection of directors and film allocation all showed the above logic of“film education”in details,and cultural colonization was beyond doubt.

关 键 词：“满映” 伪满洲国 日本 数字人文 文化殖民 

分 类 号：K313.4[历史地理—历史学]