21世纪以来中国战争电影的特点、问题与对策  

Characteristics,Problems and Countermeasures of Chinese War-themed Films in the 21st Century

作　　者：储双月[1] Chu Shuangyue

机构地区：[1]中国艺术研究院电影电视研究所

出　　处：《云南艺术学院学报》2024年第4期94-101,共8页

摘　　要：21世纪以来的中国战争电影取得突破性进展,主要着眼于书写苦难记忆与抗争记忆,诉诸正义叙事,形成了在文化上具有同质性、在政治上具有步调一致性、在道德伦理上具有同一性的国家记忆,但是这种战争创伤书写方式在海外市场仍难获普遍认可。我们还是没有创造出一个极具穿透力、说服力、感召力的叙事,或者这些叙事没有成功地走向更广大的海外受众进行传播。因此,在数字化生存的现实语境下,我们需要在人类价值理念的基础上重新界定正义观念,把对正义的要求从国家主义转向世界主义,借助世界历史视域与民族历史视域纵横交错的坐标轴进行战争创伤书写和创伤复原,通过鲜活生动的记忆主体建构流动不息的记忆样态,并最终形成“诗性正义”。Since the 21st century,Chinese war-themed films have made breakthrough progress,mainly focusing on writing memories of suffering and resistance,resorting to narratives of justice,and forming a national memory that is culturally homogeneous,politically consistent,and morally and ethically homogeneous.Nevertheless,this way of writing war traumas is still not universally recognized in overseas markets.We still have not created a highly penetrating,persuasive,and inspiring narrative,or these narratives have not been successfully disseminated to a wider overseas audience.Therefore,in the context of digital existence,we need to redefine the concept of justice on the basis of human values,shift the demand for justice from nationalism to cosmopolitanism,write and recover from war trauma with the help of the intertwined axes of the world historical perspective and the national historical perspective,and construct an ever-flowing memory pattern through the subject with vibrant and vivid memory,ultimately forming a“poetic justice”.

关 键 词：战争创伤 国家记忆 共同体 世界历史视域 

分 类 号：J905[艺术—电影电视艺术]