Research On Western European Films On World War II Themes

German,French,Italian,and British World-War-II themed film participating in World War II memories through in-depth interaction between their internal discourses such as narrative mode,characterization and image style,and external discourses such as post-war social and cultural contexts and ideological issues.To view Western European WWII-themed films in a national perspective,their disparity in the number,the differences in achievements and the diversities in aesthetic forms,are all stem from the difference in the light,heavy,slow,and urgent "memory tasks" of different nations.Countries with heavier "memory tasks" have relatively higher overall artistic achievements in the film,and even have a profound impact on the construction of the mainstream ideology and the shift in film aesthetic orientations.In contrast,countries achieved victory in war with absolute justice,its WWII-themed film was mainly used to reunite national morale with single materials and weak criticism,yet were relatively detached from the mainstream film history of the country.As a historical narrative text,Western European WWII-themed film builds WWII memories in the constantly changing social reality of the world within the three main forces: ideology-led national myth,mass collective consciousness and the artistic expression of the film author.Western European WWII-themed film has experienced three different historical stages: in the "suppression stage",the national narrative obscures individual memories with resistance mythology,hence the collective deliberate forgetting and the deliberate memories of the film authors present a tense game relationship.In the next stage,"internalization stage",part of the various groups and facts of the war are presented on the screen through autobiographical narratives,and the other part starts from intergenerational relations to condemn the covered war crimes and seek new identity.Nonetheless,both of the above actions focus on flexible adjustment of narrative skills in order to debug the acceptance of the public and internalize the true traumatic memory into people's daily life.At this stage,"memory" and "forgetting" are mutually coordinated.Finally,in the "dispersion stage",the process of European integration prompted the traumatic memory of World War II to become a starting point for establishing emotions and recognition among countries,whereby WWII-themed film was once again captured by popular culture,showing a genre tendency.The dispersal of World War II memory proves that Western European culture has truly overcome the trauma of World War II,and also indicates that WWII memory has become a new European myth after the myths of humanism and rationalism.An ethical dilemma in Western European World War II film is that the traditional dual moral evaluation system of right and evil can neither promote the process of guilt reflection nor achieve the function of wound healing.In response to this,relying on the development of ethics,sociology and literary aesthetics,a multidimensional,dynamic and diachronic moral judgment system gradually established: the discovery of mediocrity and evil will transform the problem of crime trial for the dialogue and reflection of the guilty person with the self and the system;the understanding of the subjectivity of body has inspired a wide range of feminist social practices,and the indirect harm suffered by women as war neutrals has blamed war crimes,whereby the "me" and "he" stitched together into a common "we".The views of freedom and death proposed by existential philosophy transform the death of the innocent into a philosophical proposition of how to make choose in the constant destiny of life to death.After an ethical trial,bodily stitching and transcendence of existence,Western Europe WWII-themed film were freed from the absolute binary moral evaluation system.The Western Europe World War II traumatic memory was transformed from a specific hatred memory between nations into Cultural memory of humanistic care,reflective consciousness and aesthetic value.Two frameworks of Western European WWII film: "Suppression-internalization-dispersion" in the trauma construction system,or "criminal trial-trauma representation-humanistic transcendence" in the guilt-reflection system,provided coordinate references for Chinese WWII films.The misplacement and dissociation of Chinese WWII film reflection are not only due to the lateness of justice,but also due to the weak internal reflection caused by the absence of national subjectivity.Therefore,the establishment of the introspective national cultural subject to write a constructive historical memory is the only way for Chinese WWII film and even the entire national films to heal national wounds and establish national identity.