南京大屠杀题材电影的困境研究

发布时间：2018-03-10 10:48

本文选题：南京大屠杀　切入点：历史困境　出处：《河北大学》2013年硕士论文　论文类型：学位论文

【摘要】：1937年12月13日侵华日军攻陷南京之后便开始了长达6个星期之久的惨无人道的大规模屠杀、抢掠、强奸等不可饶恕的罪恶行径，大约有20万以上乃至30万以上中国平民和战俘被日军杀害，这就是震惊世界的“南京大屠杀”。作为中国近现代历史一切深重民族苦难的最典型代表，南京大屠杀在所有中国人乃至整个中华民族中都留下了不可磨灭的烙印，与南京大屠杀有关的理论研究和文艺创作也层出不穷。电影作为集视觉艺术和听觉艺术为一体的艺术形式，能够用影像的方式给观众带来逼真的直观感受和强烈的视听震撼，呈现出电影创作者对这一历史事件的情感和态度，有利于我们更好的了解和铭记历史并对此进行反思。从1987年第一部南京大屠杀故事片《屠城血证》出现到2012年为止共有八部直接表现南京大屠杀的影片，本文以这八部电影为基本分析对象，对南京大屠杀题材电影需要应对的内部困境和外部困境进行分析，对南京大屠杀题材电影如何突破困境进行思考，，以期为当前南京大屠杀题材电影的发展方向提供借鉴，也为今后此类型电影的研究提供参考。本文分成五个部分。第一章是概述，首先从概念上解释了南京大屠杀的含义，界定了南京大屠杀的范围，简要介绍了南京大屠杀的历史和各种话语下对南京大屠杀历史事件的定位，然后从整体上总结现有南京大屠杀题材电影的主题思想和审美情怀，为后文的具体研究奠定基础。第二、三、四章结合电影文本分别从历史困境、道德困境和话语困境三个方面对南京大屠杀题材电影进行分析。在历史困境这一章，首先根据新历史主义的观点对影像和历史的关系进行阐述，然后根据历史题材电影中最突出的历史真实和艺术真实的问题对南京大屠杀题材电影在技术和艺术层面的真实性困境进行解读。在道德困境这一章，通过分析解构南京大屠杀题材电影在艺术创作手法和人物塑造的具体案例，探讨此类型电影面临的道德困境。第四章通过对南京大屠杀题材电影在不同时间段的创作诉求和审美特征的分析，研究其在不同话语主导下的话语困境。最后以《辛德勒的名单》为对照对南京大屠杀题材电影的创作进行反思总结。
[Abstract]:In December 13th 1937, after the Japanese troops invaded China and took over Nanjing, they began six weeks of inhuman mass murder, looting, rape, and other unforgivable criminal acts. More than 200,000 or even more than 300,000 Chinese civilians and prisoners of war were killed by Japanese troops. This is the Nanjing Massacre, which shocked the world. The Nanjing Massacre left an indelible mark on all Chinese and even the whole Chinese nation. Theoretical research and literary creation related to the Nanjing Massacre are also emerging in endlessly. As an art form that integrates visual art and auditory art, films can bring lifelike visual feelings and strong audiovisual shocks to the audience in the way of images. Showing the film creators' feelings and attitudes towards this historical event, This will help us better understand and remember history and reflect on it. From 1987, the first feature film of the Nanjing Massacre, "the massacre of the City of Blood" appeared, there were eight films directly showing the Nanjing Massacre as of 2012. This paper takes the eight films as the basic analysis object, analyzes the internal and external predicament that the Nanjing Massacre film needs to deal with, and how to break through the plight of the Nanjing Massacre film. In order to provide reference for the current Nanjing Massacre film development direction, but also for the future study of this type of film reference. This paper is divided into five parts. The first chapter is an overview. Firstly, it explains the meaning of Nanjing Massacre conceptually, and defines the scope of Nanjing Massacre. This paper briefly introduces the history of Nanjing Massacre and the orientation of Nanjing Holocaust historical event under various words, and then summarizes the theme thought and aesthetic feelings of the existing Nanjing Massacre film. The second, third, and fourth chapters combine with the film texts to analyze the Nanjing Massacre film from three aspects: historical dilemma, moral dilemma and discourse dilemma. First of all, according to the view of new historicism, the relationship between image and history is expounded. Then according to the most prominent historical reality and artistic truth in historical films, this paper interprets the authenticity dilemma of Nanjing Massacre film on the technical and artistic levels. In the chapter of moral dilemma, By analyzing the concrete cases of deconstructing the Nanjing Massacre film in artistic creation techniques and character shaping, Chapter 4th analyzes the creative demands and aesthetic characteristics of the Nanjing Massacre films in different periods. This paper studies his discourse dilemma under different discourses. Finally, the author rethinks and summarizes the creation of Nanjing Massacre film with Schindler's list as the contrast.
【学位授予单位】：河北大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J905

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