上海大学学报(社会科学版) ›› 2009, Vol. 16 ›› Issue (5): 40-47.

• 影视理论研究 • 上一篇    下一篇

《南京!南京!》的创作与接受”研讨会综述

  

  1. 上海大学影视艺术技术学院
  • 收稿日期:2009-05-30 出版日期:2009-09-15 发布日期:2009-09-15
  • 作者简介:张霁月(1982), 女,河南南阳人。上海大学影视艺术技术学院博士研究生。

A Summary of the Symposium on the Creation and
Acceptance of Nanjing! Nanjing!

  • Received:2009-05-30 Online:2009-09-15 Published:2009-09-15

摘要:

在上海大学影视与文学创作批评中心组织的“《南京!南京!》的创作与接受”学术研讨会上,上海大学的教授们与该片导演陆川从社会文化及电影史等多个角度,对影片创作与接受之间存在差距的原因进行了畅所欲言的探讨和交流。石川、陈犀禾、葛红兵等教授认为,影片所采用的多重角度叙事,一方面突破了中国抗战题材影片传统的叙事模式,另一方面也造成了人们的观影困境,创作与接受之间的尴尬和争议由此产生。曲春景教授指出,“反法西斯” 环节的缺失是影片创作与接受之间出现错位的主要原因,反法西斯维度的建立是反思战争的前提。金丹元教授、程波和葛颖副教授、黄望莉和陈晓达老师以及影视学院的研究生们从电影的叙事立场与中国观众的观影心理的角度探讨了产生这一现象的原因。葛红兵教授、刘海波和聂伟副教授还谈到了导演陆川对同类影片的超越,认为该片超越了中国以往同类题材的影片。陆川导演针对提出的问题进行了导演阐述,认为将“小概率的日本人与普遍意义的中国人”并置,“是对创作的一种不公平”;所谓表现“日本人的忏悔”是一种误读。

关键词: 关键词: 多重角度叙事;反法西斯维度;观影心理;导演阐述

Abstract:

At the symposium on the creation and acceptance of Nanjing! Nanjing! organized by Center of Criticism and Creation for FilmTelevision and Literature, Shanghai University, a number of professors from Shanghai University, together with Lu Chuan, director of this film, from the multiple viewpoints of social culture as well as the film history, have an extensive exchange and discussion about why there is so big gap between its creation and acceptance. Professor Shi Chuan, Professor Chen Xihe and Professor Ge Hongbing hold that the narrative of multiple viewpoints used by this film, while having a breakthrough in the traditional narrative modes of the Chinese antiJapanese war films, brings about the dilemma in watchingfilm, thus producing the embarrassment and controversy between creation and acceptance. Professor Qu Chunjing points out that the reason why there is misplacement between creation and acceptance is mainly to have missed an "antifascist" link, because the establishment of antifascist dimensions is a prerequisite for reflections on war. Professor Jin Danyuan, Professor Cheng Bo, Associate Professor Ge Ying, Chen Xiaoda and postgraduates from this school, from the perspectives of the narrative position of this film and the watchingfilm mentality, probe into the reason for this phenomenon. What' s more, Professor Ge Hongbing, Deputy Director of this center, and Liu Haibo as well as Associate Professor Nie Wei, speak of the commitment and goingbeyond of the film director Lu Chuan, considering that this film goes beyond former similar films in China. For the questions mentioned above, Lu Chuan has a director' s interpretation. He holds that the fact of "small probability of the Japanese" being concatenated by "universal significance of the Chinese", shows "unfair to creation". And the socalled "Japanese remorse" is a misreading.

Key words: Key words:  narrative of multiple viewpoints; antifascist dimensions; watchingfilm mentality; directors interpretation