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甘粕正彦是日本侵华和建立伪满洲国的右翼法西斯分子,他出任殖民主义电影机构“满映”理事长后,在根本上积极推行殖民主义国策的同时,也对满映成为亚洲最大的现代化电影工业基地,做了多次改革和精心打造。同时起用日本左翼电影人才、全面培养中国电影人和调整民族关系,整体上对殖民主义严酷统治的伪满营造了满映相对宽松的小环境,体现出殖民性与现代性的复杂纠结与矛盾。文章结合马克思主义的东方殖民地理论,对这一现象进行分析和还原。
After serving as the right-wing fascist element in Japan’s invasion of China and the establishment of the puppet Manchukuo state, Kampar Masakatan became the right-wing fascist element of the puppet Manchukuo. After he became chairman of the colonialist film agency Manchuria, he actively implemented the colonialist national policy and at the same time, The modernization of the movie industry base, made many reforms and carefully crafted. At the same time, using Japanese left-wing film talents, training Chinese filmmakers in an all-round way and adjusting ethnic relations as a whole created a comparatively relaxed environment full of colonial harshness. This reflects the complicated tangles and contradictions between coloniality and modernity. This article analyzes and restores this phenomenon by combining the Marxist oriental colonial theory.