本文選題：日本當(dāng)局 + 日本侵華戰(zhàn)爭　； 參考：《檔案與建設(shè)》2014年07期

【摘要】：正美術(shù)、攝影、電影等藝術(shù)形式屬于上層建筑的意識形態(tài)部門,其主要功能是為經(jīng)濟基礎(chǔ)和政治服務(wù)。在日本侵華戰(zhàn)爭期間,這種現(xiàn)象尤為突出。1937年12月13日日軍攻占中國首都南京后,在屠殺30萬中國軍民的尸山血海上,先后扶植了偽政權(quán)。日偽當(dāng)局為了穩(wěn)定對南京的殖民主義統(tǒng)治,除了不斷加強軍事恐怖外,還采取了其他種種手段。其中,在利用美術(shù)、攝影、電影等藝術(shù)形式宣傳其殖民與奴化政策上,不遺余力。(一)早在日軍進攻南京與大屠殺期間,日本當(dāng)局就派來大批攝影師和畫家隨軍采訪,大力報道日軍的"戰(zhàn)績"。日本各大報社出版
[Abstract]:The art forms of art, photography and film belong to the ideological department of superstructure, whose main function is to serve the economic base and politics. During the Japanese invasion of China, this phenomenon was particularly prominent. After the Japanese army captured the Chinese capital Nanjing on December 13, 1937, the puppet regime was successively planted on the dead mountain of 300000 Chinese soldiers and civilians. In order to stabilize the colonial rule over Nanjing, the Japanese and puppet authorities took various measures, in addition to strengthening military terror. Among them, in the use of art, photography, film and other forms of art to publicize its colonial and enslavement policy, spare no effort. (1) as early as the Japanese army attacked Nanjing and the Holocaust, the Japanese authorities sent a large number of photographers and painters to accompany the army in interviews, vigorously reporting on the Japanese army's "achievements." Published by major Japanese newspapers
【作者單位】： 南京師范大學(xué)美術(shù)學(xué)院;
【分類號】：J120.9;K265
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本文編號：2108020