National Memory And The Narrative Of The Nanjing Massacre

In February 2014,China established December 13 th as the National Memorial Day of the Nanjing Massacre Victims.Since then,China has begun to pay tribute to 300,000 dead compatriots in the name of the country.As the most authentic and persuasive image carrier carrying the memory of this country,the documentary of the Nanjing Massacre has not only increased significantly in number,but also has different characteristics in terms of theme performance,discourse mode,and audiovisual techniques.More importantly,the documentary of the Nanjing Massacre produced by China has paid more and more attention to the balance between national memory and world memory in the process of constructing collective memory,thus showing a clear turn of speech.Therefore,in-depth and meticulous research on the construction process,construction methods and dynamic mechanisms of the collective memory of the Nanjing Massacre documentary is not only about promoting the documentary creation of such subjects,but also through the study of the social framework of collective memory,continuation and fragmentation between "past" and "present",we can outlines the interaction between collective memory and media construction.The introduction part first analyzes the important role of the documentary as a carrier of collective memory in shaping the memory of the Nanjing Massacre.Emphasis is placed on the two core concepts of "collective memory" and "Nanjing Massacre Narrative" and their implications for paper writing.The introduction also introduces the current research status of the topic,the research ideas of this paper and the significance of the topic.The first chapter sorts out the evolution of the documentary film of the Nanjing Massacre.The three time nodes divided into 1949,1982 and 2014 as the historical development stages of the Nanjing Massacre documentary.After the Chinese Communist Party took power in 1949,how to treat this historical event? What changes have been shown in the process of building the memory of the Nanjing Massacre? These are the objective premise of the ideological operation and power practice behind the analysis of the documentary of the Nanjing Massacre.China's first documentary of the Nanjing Massacre was born in 1982.Stimulated by external events,China's Nanjing Massacre memory has returned to the public after undergoing more than 30 years of silence and fracture caused by various international and domestic factors.Since then,the documentary film of the Nanjing Massacre has experienced three stages of the main features of “accusation of crimes”,“history of seeking evidence” and “summing peace”.China established the National Memorial Day of the Nanjing Massacre Victims in 2014,in order to promote "the internationalization of China's anti-war memory".Undering the media narrative framework of "Rebuilding China's World War II Narration",the documentary of the Nanjing Massacre has changed in the subject appeal,narrative style and image style.It shows that the documentary is promoting the Nanjing Massacre from national memory to national memory,and ultimately become the world's memory.According to Halbwachs' theory of collective memory.The content of collective memory can be divided into a collective framework as instrumental,the “past” and “current experience”.The collective framework of memory determines the content and appearance of collective memory.According to this framework,the second,third and fourth chapters examine how the documentary of the Nanjing Massacre theme constructs the national memory from the framework of the collective memory of the Nanjing Massacre,the "past" and the "present experience" in documentary.The second chapter combines Alexander's "cultural trauma" theory,through the analysis of the documentary,we are going to research the formation,maintenance and adjustment of the "trauma" framework of the collective memory of the Nanjing Massacre since the 1980 s.The framework of collective memory is dynamically constructed,making the documentary change in content selection,theme expression,and production level.This chapter also specifically discusses the impact of documentary aesthetics on the memory of the Nanjing Massacre.The aesthetic form of the documentary does not affect the collective framework of memory.However,documentary as a collective representation will affect the way memory is presented and the face of memory,affecting the audience's memory and acceptance of memory.The third chapter discusses how the documentary shapes the traumatic memory of the Nanjing Massacre from the "past" and "present experience".By analyzing the narrative mode,narrative perspective and meaning generation used in the recording of image texts,it is pointed out that the documentary takes the dominant story of "suffering",captures and summons traumatic memory in the presentation of "past",and constructs about traumatic projection and emotional resonance.Collective memory of the moment.The memory dilemma faced by the memory of the Nanjing Massacre,especially the differences between China and Japan on historical issues,has become an important part of the construction of the collective memory of the Nanjing Massacre-the current injury.Through the polyphonic representation of emotional memory and historical facts,and through the role of “empathy”,the documentary makes the Nanjing Massacre not only constructed in the cognitive memory,but also in the emotional memory level as “trauma”,prompting members of society to share this trauma.Should shoulder the responsibility of trauma.From the perspective of aesthetics,the documentary film of the Nanjing Massacre has undergone a process of transformation from a single expression to a statement,documentary,deductive,and multi-coexistence.To this day,the "reality" revealed by the documentary film of the Nanjing Massacre is different from the "art truth" of fictional images,and is different from historical historical facts,and is a kind of "constructed reality".It is not only the presentation content of memory and historical construction,but also the way to realize its aesthetic appeal.Through the documentary film of the Nanjing Massacre,what people see is not a mirror of history,but a "non-mirrored memory."In the conclusion,the author describes the development direction of the narrative of the Nanjing Massacre documentary.The author believes that China's documentary of Nanjing massacre should break away from the “dictation” and “refuting” mentality.With a more pluralistic subject appeal and a gesture of equal dialogue transcending national borders,under the perspective of human narrative,we will enter into a deeper concern and reflection on human nature,human beings and human civilization.This is a deep writing and serious narrative of the Nanjing Massacre.Then,documentary of Nanjing Massacre can have far-reaching significance in the sense of humanity.