南京沦陷时期日伪对美术、摄影、电影的控制与利用

发布时间：2018-07-08 16:25

  本文选题：日本当局 + 日本侵华战争　； 参考：《档案与建设》2014年07期

【摘要】：正美术、摄影、电影等艺术形式属于上层建筑的意识形态部门,其主要功能是为经济基础和政治服务。在日本侵华战争期间,这种现象尤为突出。1937年12月13日日军攻占中国首都南京后,在屠杀30万中国军民的尸山血海上,先后扶植了伪政权。日伪当局为了稳定对南京的殖民主义统治,除了不断加强军事恐怖外,还采取了其他种种手段。其中,在利用美术、摄影、电影等艺术形式宣传其殖民与奴化政策上,不遗余力。(一)早在日军进攻南京与大屠杀期间,日本当局就派来大批摄影师和画家随军采访,大力报道日军的"战绩"。日本各大报社出版
[Abstract]:The art forms of art, photography and film belong to the ideological department of superstructure, whose main function is to serve the economic base and politics. During the Japanese invasion of China, this phenomenon was particularly prominent. After the Japanese army captured the Chinese capital Nanjing on December 13, 1937, the puppet regime was successively planted on the dead mountain of 300000 Chinese soldiers and civilians. In order to stabilize the colonial rule over Nanjing, the Japanese and puppet authorities took various measures, in addition to strengthening military terror. Among them, in the use of art, photography, film and other forms of art to publicize its colonial and enslavement policy, spare no effort. (1) as early as the Japanese army attacked Nanjing and the Holocaust, the Japanese authorities sent a large number of photographers and painters to accompany the army in interviews, vigorously reporting on the Japanese army's "achievements." Published by major Japanese newspapers
【作者单位】： 南京师范大学美术学院;
【分类号】：J120.9;K265
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本文编号：2108020