"Others"in Many Aspects Of History

The issue of figural shaping is the key point of film art creation,and it is also a comprehensive problem in the study of the theory of literature and film drama.people in reality is complex,however,the film represents exactly the complexity of human and humanity,but the Japanese image in Chinese film usually loses the complexity.The Japanese in vision has brought the traumatic national memory to China since the modern times,Japanese image in Chinese film is almost “evil”.There have been Japanese images except “Jap Suckers” appeared in the Chinese films since the new century,as well as some new representative Japanese images,however,they are not accepted by Chinese patriots in terms of acceptance and influence.Some of Formosan films with colonialism are even criticized.Thus,the Japanese images in Chinese films are in accord with Chinese culture,which influences more recipients by mass culture communication,and is involved in the re-creation and re-imagination of figural shaping.The main direction and goal of the research are based on the history of Chinese contemporary films,and take the Japanese image as research object.From the perspective of literature,filmology,esthetics,sociology and physics,referring to the existing research findings,the thesis analyzes and summarizes Japanese images in Chinese films,striving to reflect Chinese attitude to Japanese by “exotic image”.This thesis not only describes the Japanese image and the changes in the historical environment of Chinese film development macroscopically,but also analyses the typical text of a single film microscopically.With the boundaries of new Chinese establishment,reform and opening,and the new century,Chinese contemporary films are divided into three stages in the first three chapters—films in the “seventeen years” and the “Cultural Revolution” period,the new period and the new century period,in which the Japanese images in Chinese contemporary films are analyzed and summarized.The division of the period of the film is basically the same as the research of Chinese mainstream film history.But the research of film history places particular emphasis on the focus of the course of film lecture,even more detailed.The periodization lays more emphasis on Chinese films under the background of Chinese politics to investigate the changes of Japanese images.The films which take the historical event of Nanjing Massacre in the war of Japan's invasion of China as the subject and background are studied in Chapter Four,including Chinese films in different historical periods and different emphasis as well as films co-produced by China and foreign countries.The thesis also uses the third party perspective from abroad as a reference in this chapter,analyzes and compares Japanese images in the films of different perspectives to obtain the objectivity of Nanjing Massacre and Japanese images.In Chapter Five the Japanese images in the films of Taiwan and Hong Kong are analyzed and summarized to draw the conclusion about the cognition of Japan formed by filmmakers of different periods as well as characteristics and variation about Japanese images.The cause of formation about Japanese images in Chinese contemporary films in the context of Sino-Japanese relations is also studied in the thesis.It is difficult for writers and filmmakers to get rid of the standpoint that views the national culture as the center,therefore a certain degree of “national ideology” and “self-awareness” are often showed by the screen images created in the films,which also transform silently under the influence of the evolution of history,culture revolution,the development of politics and economic in China and transforming of Sino-Japanese relations.The transformation also influences the Japanese images in the films and is based on the stable construction of foreign image.Between phenomenon and nature,this thesis analyzes the cause of formation about Japanese images in Chinese contemporary films in the context of Sino-Japanese relations.In conclusion,Japanese images in Chinese films and the drawbacks of construction in the context of Sino-Japanese relations need to be resolved and eliminated with the harmonious development of the relations between China and Japan.