本文關(guān)鍵詞： 創(chuàng)傷記憶 紀(jì)錄片 民間記憶計(jì)劃 表征 亞洲　出處：《浙江傳媒學(xué)院學(xué)報(bào)》2016年05期 　論文類型：期刊論文

【摘要】：記憶與歷史之間存在著復(fù)雜的聯(lián)系。在二十世紀(jì)的記憶研究中,存在兩種關(guān)于記憶與歷史關(guān)系的判斷,一種是以皮埃爾·諾拉為代表的記憶建構(gòu)話語,另一種是以保羅·利科為代表的記憶義務(wù)話語。文章以創(chuàng)傷記憶類紀(jì)錄影像為分析對象,認(rèn)為21世紀(jì)以來反映當(dāng)代亞洲國家現(xiàn)代歷史的紀(jì)錄片的創(chuàng)作沖動(dòng),主要應(yīng)該從利科的義務(wù)話語出發(fā)進(jìn)行理解。通過對中國大陸、印度尼西亞、柬埔寨、泰國四國三組創(chuàng)傷記憶類紀(jì)錄片的分析,文章提煉出三種記憶表征模式,分別為:"口述—檔案模式"、"搬演—情景再現(xiàn)模式"、"空間—物體模式"。希望通過這種梳理,豐富人們對當(dāng)代紀(jì)錄影像中的表征、記憶與歷史三者間復(fù)雜關(guān)系的認(rèn)知。
[Abstract]:There is a complex connection between memory and history. In the memory study in 20th century, there were two kinds of judgments about the relationship between memory and history, and one was memory-constructed discourse, represented by Pierre Nora. The other is Paul Rico's words of duty to remember. The article looks at traumatic memory images as an analysis of the impulses of documentaries that reflect the modern history of contemporary Asian countries since 21th century. Through the analysis of three groups of traumatic memory documentaries in mainland China, Indonesia, Cambodia and Thailand, the paper abstracts three kinds of memory representation models. They are: "dictation-file mode", "moving-scene reproducing mode", "space-object model". It is hoped that through this sort of combing, people can enrich the representation of contemporary recorded images. Cognition of the complex relationship between memory and History.
【作者單位】： 南京理工大學(xué)設(shè)計(jì)藝術(shù)與傳媒學(xué)院;
【分類號】：J952
【正文快照】： 20世紀(jì)見證了現(xiàn)代性發(fā)展到某個(gè)高潮節(jié)點(diǎn)上所形成的雙刃劍的巨大力量。工業(yè)革命帶動(dòng)的科學(xué)技術(shù)的騰飛、文藝復(fù)興與啟蒙運(yùn)動(dòng)所大力激發(fā)的主體能動(dòng)意識,以及資本再生產(chǎn)的欲望所導(dǎo)致的全球一體化速度的加快,使得人類文明在大大往前推進(jìn)的同時(shí),也產(chǎn)生了極大的破壞性:從軍事上看帶來，

本文編號：1451334