本文選題：南京大屠殺　切入點(diǎn)：歷史困境　出處：《河北大學(xué)》2013年碩士論文　論文類型：學(xué)位論文

【摘要】：1937年12月13日侵華日軍攻陷南京之后便開始了長達(dá)6個(gè)星期之久的慘無人道的大規(guī)模屠殺、搶掠、強(qiáng)奸等不可饒恕的罪惡行徑，大約有20萬以上乃至30萬以上中國平民和戰(zhàn)俘被日軍殺害，這就是震驚世界的“南京大屠殺”。作為中國近現(xiàn)代歷史一切深重民族苦難的最典型代表，南京大屠殺在所有中國人乃至整個(gè)中華民族中都留下了不可磨滅的烙印，與南京大屠殺有關(guān)的理論研究和文藝創(chuàng)作也層出不窮。電影作為集視覺藝術(shù)和聽覺藝術(shù)為一體的藝術(shù)形式，能夠用影像的方式給觀眾帶來逼真的直觀感受和強(qiáng)烈的視聽震撼，呈現(xiàn)出電影創(chuàng)作者對(duì)這一歷史事件的情感和態(tài)度，有利于我們更好的了解和銘記歷史并對(duì)此進(jìn)行反思。從1987年第一部南京大屠殺故事片《屠城血證》出現(xiàn)到2012年為止共有八部直接表現(xiàn)南京大屠殺的影片，本文以這八部電影為基本分析對(duì)象，對(duì)南京大屠殺題材電影需要應(yīng)對(duì)的內(nèi)部困境和外部困境進(jìn)行分析，對(duì)南京大屠殺題材電影如何突破困境進(jìn)行思考，，以期為當(dāng)前南京大屠殺題材電影的發(fā)展方向提供借鑒，也為今后此類型電影的研究提供參考。 本文分成五個(gè)部分。第一章是概述，首先從概念上解釋了南京大屠殺的含義，界定了南京大屠殺的范圍，簡要介紹了南京大屠殺的歷史和各種話語下對(duì)南京大屠殺歷史事件的定位，然后從整體上總結(jié)現(xiàn)有南京大屠殺題材電影的主題思想和審美情懷，為后文的具體研究奠定基礎(chǔ)。第二、三、四章結(jié)合電影文本分別從歷史困境、道德困境和話語困境三個(gè)方面對(duì)南京大屠殺題材電影進(jìn)行分析。在歷史困境這一章，首先根據(jù)新歷史主義的觀點(diǎn)對(duì)影像和歷史的關(guān)系進(jìn)行闡述，然后根據(jù)歷史題材電影中最突出的歷史真實(shí)和藝術(shù)真實(shí)的問題對(duì)南京大屠殺題材電影在技術(shù)和藝術(shù)層面的真實(shí)性困境進(jìn)行解讀。在道德困境這一章，通過分析解構(gòu)南京大屠殺題材電影在藝術(shù)創(chuàng)作手法和人物塑造的具體案例，探討此類型電影面臨的道德困境。第四章通過對(duì)南京大屠殺題材電影在不同時(shí)間段的創(chuàng)作訴求和審美特征的分析，研究其在不同話語主導(dǎo)下的話語困境。最后以《辛德勒的名單》為對(duì)照對(duì)南京大屠殺題材電影的創(chuàng)作進(jìn)行反思總結(jié)。
[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.
【學(xué)位授予單位】：河北大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J905

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