摘要
在历史事件亲历者逐渐离世、历史叙事受到挑战的背景下,电影《南京照相馆》以追求真相的影像伦理构建出南京大屠杀的当代显影机制。影片通过照相馆的微缩场景,从多维度展现历史照片,以暴行图像证据作为素材进行了从宏大历史到个体形象的影像转换,在战争废墟与现代都市的时空交叠中,将南京大屠杀的历史创伤镌刻在中华民族遭受外侮的集体记忆中。虽然电影在部分历史史实上存在偏差,但其历史叙事有力地拒斥了萦绕在南京大屠杀事件的种种历史修正主义谬论,展现了电影在传承民族记忆与历史建构中所发挥的作用,并为中国战争题材电影的进一步创新发展提供了范式。
Against the backdrop of the gradual passing of historical witnesses and the challenges to historical narratives,the film“Dead to Rights”constructs a contemporary visualization mechanism of the Nanjing Massacre through an image ethics dedicated to seeking the truth.By creating a miniature setting of a photo studio,the film presents historical photographs from multiple perspectives,using visual evidence of atrocities as material to transform grand historical narratives into individual images.That is,through the overlapping of time and space between the ruins of war and the modern city,it engraves the historical trauma of the Nanjing Massacre into the collective memory of the Chinese nation s suffering from foreign aggression.Although the film still contains certain deviations and inaccuracies in certain historical facts,its historical narrative powerfully refutes the various fallacies of historical revisionism that haunt the events of the Nanjing Massacre.It not only demonstrates the role that film can play in inheriting national memory and historical construction,but also provides a paradigm for the further innovative development of Chinese war-themed films.
作者
杨金才
陶君函
Yang Jincai;Tao Junhan
出处
《日本侵华南京大屠杀研究》
2025年第4期14-22,140,共10页
Journal of Japanese Invasion of China and Nanjing Massacre
