Research Of Nanking Massacre Documentary On The Perspective Of Media Memory

As one of the disasters of China,Nanking Massacre is a typical example,and has expressed Chinese people a lot.Theories and arts on Nanking Massacre have emerged one and another for years.Documentary,as an expression form combining reality and art,has become an important way for media to spread the truth of Nanking Massacre and express the attitude towards Nanking Massacre.In 1982,Gao Zhongming and Liu Yufeng filmed�Nanking Massacre�,the first documentary on that.From then on,both China and foreign countries have developed many films like that,expressing different views and attitudes of different phases and different countries.At the same time,the documentary has also constructed people's collective memories of Nanking Massacre.Documentary has become the main method for people knowing history,for its non-fictionality,and become a practice of memory as well.My research focuses on Nanking Massacre documentary from the perspective of media memory,aiming at finding out how mass media connects with history,constructs memory space and practices memory among the space.There are twenty Nanking Massacre documentaries as the research objects.Through a comprehensive and thorough study,I will find out the problems of the films and make suggestions on that.I hope my research could helpful for documentaries on similar theme.The paper can be divided into for parts.The first part aims at researching on mnemonic symbol and centering on features,places and space-time of Nanking Massacre documentary.The second part emphasizes on narrative analysis,including narrative models,perspectives and attitudes.The third part focuses on memory setting,including strategies and influence factors.Through research of the above-mentioned three parts,the fourth part analyzes existing problems of Nanking Massacre documentary and makes suggestions on historical memory construction of documentary films.Therefore,I hold the view that the construction of historical memory in documentary has been influenced by discourse hegemony and shortage of historical reality,resulting in secondary insult to the survivors and the audience,which is against the original intention of memory construction.Hence,I think when artists make documentary with respect to traumatic memory,they should pay attention to three dimensions,political concern,historical concern and humanistic concern,reinvesting historical traumatic memory with unique aesthetic identity and due attitude.