微观跨国史视角与艺术形式复魅:《里斯本丸沉没》的历史与影像叙事  

Micro-transnational Historical Perspective and the Re-enchantment of Artistic Forms:History and Filmic Narrative in The Sinking of the Lisbon Maru

作　　者：张振 Zhang Zhen

机构地区：[1]中国人民大学文学院

出　　处：《戏剧(中央戏剧学院学报)》2025年第1期18-30,共13页Drama:The Journal of the Central Academy of Drama

基　　金：2024年度国家社科基金艺术学重大招标课题“‘两个结合’与中国当代艺术理论创新研究”(项目编号:24ZD02)的阶段性成果。

摘　　要：《里斯本丸沉没》既是一部历史纪录片,也是一部剧情片。影片采用多民族、多地域、多重时间维度的叙事视角,记录了1942年10月押送英军俘虏的里斯本丸在中国东海沉没的历史事件。在历史叙事层面,影片超越了民族国家的国别和宏大历史叙事,以微观跨国史视角再现历史真相。在影像叙事层面,影片通过借鉴古典悲剧艺术形式对历史事件重新编排,在历史事实殊相与影像虚构共相的辩证关系中,构筑了独特的审美体验。该影片的历史叙事和艺术形式对当下国产历史纪录片的创作具有一定的启示意义。The film The Sinking of the Lisbon Maru is both a historical documentary and a feature film with magnificent narrative skills. It narrates the sinking of the Japanese freighter Lisbon Maru in October, 1942 in the Eastern China Sea. On the level of historical narrative, the film transcends national historiography and represents the historical event from the perspective of micro-transnational history. On the level of the filmic narrative, the director adopts a threedimensional narrative time and utilizes the art form of classical tragedy. It artistically arranges historical events into fictive narratives. In the dialectics between the historical particular and the narrative universal, the film creates a peculiar aesthetic pleasure. The historical narrative and art form in this film are significant for documentary-making in contemporary China.

关 键 词：微观史 跨国史 《里斯本丸沉没》 历史纪录片 悲剧形式 

分 类 号：J90[艺术—电影电视艺术]