从历史见证到创伤记忆的变迁 —谈电影《南京照相馆》的创伤影像建构
From Historical Witnessing to Traumatic Memory: The Construction of Traumatic Imagery in Dead to Rights
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초록
本文以 2025 年中国暑期档热映电影《南京照相馆》为研究对象，聚焦其在南京大屠杀历史再现中的影像化策略与创伤叙事伦理。与 1987 年上映的电影《屠城血证》进行比较可以发现，前者着重于展现影像与权力之间的凝视机制，而《南京照相馆》则将镜头焦点从“显影”转向“定影”的成像过程，将个体见证者的家庭创伤置入国家叙事框架之中，从而强化了“山河完整、寸土不让”的抗战话语建构。然而，这种以“以家代国”的视觉策略所重构的集体记忆在凝聚民族情感的同时，也导致排他性的民族主义情绪被进一步激发，使其难以触及 20 世纪末其他同题材电影中所体现的跨民族、跨文化历史反思。由此，《南京照相馆》成为当下中国影像文化中“历史见证”向“创伤记忆”转化的重要样本，也折射出当代中国电影的历史书写所面临的文化症候。
Abstract
This study examines the 2025 Chinese summer blockbuster Dead to Rights (《南京照相館》), focusing on its visual strategies and traumatic imagery, as well as the ethical stakes of re-presenting the Nanjing Massacre on screen. A comparison with the 1987 film Massacre in Nanjing (《屠城血證》) reveals a notable shift in representational logic. Whereas the earlier film foregrounds the mechanisms of gaze that structure the relationship between image and power, Dead to Rights redirects attention from processes of “revelation” to those of “fixing,” embedding the familial experiences of individual witnesses within a state-centered narrative framework. By suturing multiple personal viewpoints into a unified trajectory of national memory, the film reinforces a patriotic discourse of “territorial integrity and uncompromising resistance” (山河完整、寸土不讓). Yet this “family-as-nation” visual strategy, while effective in mobilizing national sentiment, also reproduces an exclusionary nationalist narrative. It confines the representation of trauma to an affective mode of mobilization and forecloses the trans-national/cultural reflections found in other late twentieth-century films on the same theme. In this regard, Dead to Rights stands as an important example of the contemporary shift in Chinese visual culture from “historical witnessing” to “traumatic memory,” illuminating the cultural symptoms that shape the historical writing of Chinese cinema today.