暴力的记忆与历史的沉思——以电影《悲情城市》和《霸王别姬》为中心

论文探讨了从鲁迅到余华等现代中国作家以及中国现代文艺对于暴力的不同关注和思考,尤其以电影《悲情城市》和《霸王别姬》为中心讨论了台湾和大陆不同的历史经验和记忆。文革成为了大陆知识分子历史记忆的符号,《霸王别姬》是大陆“伤痕文学”的发展,凝结了大陆知识分子的历史悲情。“二二八”则成为了台湾历史记忆的符号,《悲情城市》是台湾经验的一种表述。民族——国家成为了这两部电影暴力批判的对象。然而,值得注意的是,第三世界现代民族——国家是在抵抗帝国主义暴力入侵的过程中建构起来的,因此,实际上,民族——国家包含了抵抗与压迫的双重性质。在民族主义的建构中,往往忽视了民族主义内部的暴力和压迫。而在对民族——国家的批判中,也同时压抑了对殖民主义和帝国主义暴力的批判。

The Memory of Violence and Reflections on History

This paper probed into various concern over and reflections upon violence on the part of modern Chinese writers ranging from Lu Xun to Yu Hua, etc. and in modern Chinese art and literature, discussing the diverse historical experience and memories in China's mainland and Taiwan by focusing on such films as The Gloomy City and The Overlord Bids Farewell to His Concubine. As the "Cultural Revolution" is a mark of historical memory for intellectuals in China's mainland, The Overlord Bids Farewell to His Concubine embodies a development of "literature of trauma" in China's mainland, which is a result of the historical sadness on the part of intellectuals in China's mainland whereas in Taiwan the Feb. 28th Incident is a symbol of historical memory, and The Gloomy City is an explanation of the Taiwanese experience. In short, the nationality and the state become a butt of criticism concerning violence in both films. However, what is noteworthy is that modern nationality and state of the third world has been established in the course of their resistance to the violent aggression of imperialists. As thus, the nationality and the state do involve the dual nature of resistance and oppression. In the establishment of nationalism, the violence and oppression within nationalism are apt to be ignored while in the criticism of the nationality and the state the criticism of the violence of colonialism and imperialism is restrained.