【摘要】 本论文通过对当代大陆抗战电影的研究发现,近三十年来,银幕上的日本女性形象一方面呈现出多元化的趋势,母亲、妻子、从军慰安妇以及女学生、女军官等相继登场,且复杂的人性逐渐得到表现。但另一方面,在这貌似不断变化的多元形象下却潜藏着作为战争受害者和大众消费对象的共同特质,而这一特质在无形中强化了日本方面存在的偏重强调自身是受害者的战争观,并暴露出此类电影对历史认知的不足。其实在战时法西斯主义的极权统治下,日本女性绝非只是战争的无辜受害者,她们同样是在"铳后"支持日本对外侵略的重要力量。因此,笔者认为有必要重新审视日本女性与战争之间的关系,反思抗战电影创作上的历史认知问题。更多还原

【Abstract】 Based on an analysis of anti-Japanese war movies in China, the author found that during the past thirty years the screen image of Japanese female characters presents a trend of diversification. These characters could be mothers and wives,comfort women, female students or even female officers. Meanwhile, the complexity of human nature has been gradually introduced into their depictions. However, at the same time, the author also found that the characteristics of war victims and consumer objects are always demonstrated in these seemingly diverse and constantly changing images. Though as a kind of special artistic creation, China’s anti-Japanese war movies are invested with some inherent mission and responsibility. Besides being war victims, Japanese women, under the wartime fascist totalitarian rule, also acted as an important support for Japanese aggression on the "Home front". Therefore, the paper argues that it is necessary to re- examine the relationship between Japanese women and war, as well as the history of cognitive problems reflected in the creation of China’s anti- Japanese War movies.更多还原