CAJ | 학술논문

从“看”与“被看”的双重焦虑视角进入姜文的电影《鬼子来了》，影片颠覆了传统抗日题材电影的模式，消解了崇高、权威、集体等一系列宏大抽象客体，试图进一步还原历史的个人性、民间性和私密性，尝试通过充满隐喻的叙事剖析国家民族光环下的真实存在，实现对中日两个民族性格命运的寓言。
종“간”여“피간”적쌍중초필시각진입강문적전영《귀자래료》，영편전복료전통항일제재전영적모식，소해료숭고、권위、집체등일계렬굉대추상객체，시도진일보환원역사적개인성、민간성화사밀성，상시통과충만은유적서사부석국가민족광배하적진실존재，실현대중일량개민족성격명운적우언。
The film, Devils on the Doorstep which is directed by Jiang Wen, is studied from the angle of double anxiety of see-ing and being seen. The film has subverted the traditional narrative mode of anti-Japanese films, dispelling a series of grand abstract object, such as noble, authority and community, attempting to restore historical individuality, folk and privacy and ana-lyzing the real existence of national aureole through the metaphorical narration, with the realization of the fable on two national character destiny.