The Studies Of Japanese Anti-war Films

In those Japanese war films and some non-war genre films,Japanese anti-war films refer tha t express the ideological standpoints and emotional tendencies of opposing war and advocatin g peace,and with the content of characters and events affected by two world wars.As an important genre in the Japanese history of film,Japanese anti-war films have conveyed their rejection and critique against the war,and their yearning and pursuit for peace in various ways.Japanese anti-war films,with distinctive characteristics,are not only huge in number,but also cover a variety of movie genres.This essay is the first time in China to make a panoramic research on Japanese anti-war films from the vertical and horizontal angles by combining historical theories.First of all,this essay has divided the course of Japanese anti-war films-from the pre-World War II period to the past 100 years-into five stages,as “Dawn”,“Rise of Democracy”,“Waves of Anti-War”,“Weakening of Reflection”,“Insistence on Diversity”,based on the combination of historical theory and the thematic features of expression in Japanese anti-war films in different historical periods..It discusses the influence of the political situation,social thoughts,movie policies,movie thoughts,etc on the evolution of the theme of anti-war movies in different periods.Through the analysis of the theme content of classic films at various stages,it outlines the evolution of the theme of Japanese anti-war films.Secondly,this essay comprehensively explores the influence of Japanese traditional culture on Japanese anti-war films from the perspective of cultural criticism.First,it reveals the ideological trends of Japanese left-wing and anti-war literature and their works to guide anti-war films.Many excellent anti-war films are derived from the adaptation and creation of anti-war literary works,and are full of profound cultural connotations and humanistic heritage;secondly,it is to discover the influence of Buddhism,Shintoism and other religious thoughts on anti-war films,to reveal the healing effect of religious culture on the trauma of film characters and the role of female whose body has been given the anti-system;thirdly,it is to explore the function of Japanese anti-war films as re-shaping the view of nature and life from the field of Japanese life philosophy.Thirdly,Japanese anti-war films have three major characteristics in the creative strategy.Narrative strategies are expressed as “de-heroization” of characters,“de-hostilization” of conflicts,and diversified narrative perspectives;lyrical strategies are expressed as individual emotional expressions in the lyric tone,expressed as a metaphorical function of the scene while the pacifist appeal highlights idealistic feelings with musical art;the aesthetic strategy is that the film generally has the tragic character of “de-loftiness” and the comical character of“de-humor”.The discussion of the creative features of Japanese anti-war film art helps us to explore their unique artistic aesthetic value.Fourth,an objective understanding of the issue of war responsibility obscurity in Japanese anti-war films can help clarify the bias in people’s understanding and evaluation.The reason why Japanese anti-war films obscured war responsibilities is mainly manifested as: the responsibility of initiating the aggressive war subject is shelved,the collective memory restricts the evasion of war responsibilities,and the necessary obscuration is the need for the reconstruction of Japanese real society.The way to cover the responsibility of war is mainly as follows: the image of the person who has the power of warfare is blurred,the group image of the victims is shaped,and the personalized emotion is displayed.The impact of shifting responsibilities is mainly manifested as: on the one hand,a series of undesirable sequelae are left because of shifting responsibilities;on the other hand,through compromised consensus and selective reflection,it has made important contributions to the peaceful and stable development of Japanese society.Fifth,this essay puts Japanese anti-war films under the macroscopic view of Chinese anti-Japanese films and German anti-war films for comparative analysis,and deeply explores the advantages,defects and characteristics of Japanese anti-war films.Compared with Chinese anti-Japanese movies: the narrative form is reflected in the difference between the grand narrative and the micro-narrative;the character formation is reflected in the difference between the legendary description of the hero and the traumatic group portrait,influence and blind worship.Comparison with German anti-war films: the difference between selective reflection and comprehensive criticism on the theme of anti-war;the difference between“anti-war” and “anti-Nazi” on the focus of the anti-war theme;from the national system and ideologyy,Germany is the integration of“national anti-war”and“film anti-war”,while Japan is the separation of “national anti-war” and “film anti-war”.Finally,from the comparative analysis of the Trial Films of the World War II trial in The Trial of Nuremberg(United States),Tokyo Trial(Japan),and Tokyo Trial(China),the decisive influence of the national ideology on film art has revealed.