《里斯本丸沉没》:新历史主义与作为纪念碑的纪录影像——方励访谈  

New Historicism and Documentary as a Monument:An Interview with Fang Li,Director of The Sinking of the Lisbon Maru

作　　者：方励 黄天乐[2] 樊姝彤 Huang Tianle

机构地区：[1]不详 [2]中国传媒大学戏剧影视学院

出　　处：《电影艺术》2024年第6期96-101,共6页Film Art

基　　金：教育部人文社会科学研究一般项目“再媒介化语境下电影形态变迁研究”(批准号:22YJC760028);教育部产学合作协同育人项目“媒介融合视域下电影类课程教学改革创新研究”(批准号:221000862113194)阶段性成果。

摘　　要：《里斯本丸沉没》以双绞线结构将一段被遗忘的历史进行影像化还原。影片通过多重视角口述历史与文献搜集,使得“人”“物”交互印证,揭示被宏大叙事遮蔽的里斯本丸沉船事件与亲历者的个体命运,形构新历史主义视域下多维叙事体系与互文记忆,凸显影像的纪念碑性。导演方励在访谈中阐述,版画风格的定格动画与写实主义音响造就影片视听向度的悖反与非和谐性。由此,影片平衡了历史再现与情感传递,以克制的姿态完成对历史真实事件的悲剧性表达。The Sinking of the Lisbon Maru documents a forgotten historical event in wwll through a"twisted pair"narrative structure.By searching for oral and written histories from multiple sources,the film cross-references witnesses and physical evidence to reveal the fates of Allied prisoners of war(POWs)aboard the Lisbon Maru,the sinking of which was long obscured by the grand narrative.The documentary constructs a multidimensional narrative and intertextual memory through a new historicist lens,highlighting the monumentality of images.During the interview,Fang Li,the producer and director,elaborated that the stop-motion animation in a woodcut style combined with realistic sound creates a sense of contradiction and disharmony in the film's audio-visual dimensions.Thus,The Sinking of the Lisbon Maru balances historical reenactment with emotional expression,adopting a restrained approach to narrate the tragic sinking.

关 键 词：新历史主义 纪念碑性 互文性 定格动画 

分 类 号：J952[艺术—电影电视艺术]