帝国的乡村凝视与殖民的都会显影--以1937年“满映”制作的“文化映画”《光辉的乐土》和《黎明的华北》为例

摘要

Glorious Happy Land and North China at Dawn are two important “Cultural Movies” made in 1937 by Manchou Film Association.An in-depth analysis of the two short documentaries reveals that Manchou Film Association had a part to play in Japan’ s “invasion” and “domination” of Manchuria.On the other hand, the analysis also brings to light ambiguous ideological and cultural symptoms of the Puppet Regime which was set up by the Japanese invaders and served as a tool of control and domination.The article argues that in these two movies, Manchou Film Association clearly preached the“Manchou concept” and advocated the poli-cies pursued by the Kwantung Army in North China.In addition, Manchou Film Association, with its manipu-lation of the imperial gaze at the rural Other and the representation of the cosmopolitan Self, helped to create an imperial “continental illusion” and thus collaborated in Japan’ s colonial domination and expansion.In the two movies, the perfect juxtaposition of the imperial gaze and self representation demonstrates exactly the hypocrisy and falsehood of such ideas as“Japan-Manchou as an united whole” and“peace in the east Asia” as advocated by the Japanese invaders in their“state policy movies”.%《光辉的乐土》和《黎明的华北》是“满映”在1937年制作的两部重要的“文化映画”。对这两部纪录短片进行更深一步的、细致入微的文本分析，可在还原“满映”的统治和侵略特性之外，揭示出作为统治者和侵略者的日伪政权在其镜头与画面之间若隐若现的意识形态及文化症候。事实上，通过《光辉的乐土》和《黎明的华北》这两部“文化映画”，“满映”不仅宣扬了日本人的“满洲观”和关东军的华北政策，而且在凝视乡村和显影都会的过程中，彰显出帝国主义的“大陆”幻象和殖民者的拓地心态；两者之间相互交织，相辅相成，恰恰从精神层面上映照出战争时期日伪“国策电影”所谓“日满一体”、“东亚和平”的虚伪性与虚弱感。