- 期刊
《螢火蟲之墓》的多重書寫：戰爭記憶的重塑與轉化
Various Adoption of "Grave of the Fireflies"
摘要
高畑勳執導的動畫《螢火蟲之墓》其影響與知名度甚至超過了原作野坂昭如的小說《螢火蟲之墓》。每年八月接近終戰的日本全國暑假期間，這部動畫便透過電視媒體重複放映，一為紀念戰爭結束，二來也企圖喚起人們對戰爭的記憶與省思。動畫片中14 歲的少年清太與4 歲的節子在戰火中失去了父母，努力想靠自己的力量在焦土與廢墟中存活卻活活餓死的悲劇，讓多少觀眾鼻酸，而一度收留兄妹卻又冷嘲熱諷的阿姨也因此落入典型虐待孤兒的惡繼母角色框架中。2005 年為終戰六十週年紀念所製作的電視劇版《螢火蟲之墓》，將主要人物換成戰時的這位阿姨，為成人立場提出了戰爭時無餘力的辯護，也更凸顯了戰爭時人人自危的殘酷面。相對的，小說原著作者野坂昭如曾在戰爭中搶奪妹妹的食物，後來妹妹因營養不良死亡而留下了難以抹滅的創傷經驗，因而在作品中交織出清太愛護節子的一幕一景，譜出作者對妹妹的輓歌。作品中的阿姨僅為遠房親戚，她對兄妹倆的冷淡無情，似乎也含有作者對年少的自己給予心靈懲罰的意味。個人對戰爭的記憶，往往經由媒體轉化為集體的記憶，而《螢火蟲之墓》的文本與情節鋪陳型塑了戰爭迫害下無力的孩童形象，對戰爭發出控訴。而弔詭的是，無論是高畑勳亦或野坂昭如，都曾經發言表示，作品成為賺人熱淚的戰爭孤兒的經典敘事作品，並非他們所樂見。《螢火蟲之墓》經過了多重的書寫與再現，其中的敘事層面亦可能脫離原作者的意圖架構。本發表擬將《螢火蟲之墓》轉譯中發生的意識與無意識的異化詳細釐清，並由各種書寫方式所呈現的戰爭殘酷面向出發，探討戰後日本對戰爭的集體記憶如何一再地被重塑與轉化的過程。
並列摘要
The animation movie Grave of the Fireflies directed by TAKAHATA ISAO, is no doubt a worldwide famous representative work. The first motivation of which is, first, in memory of the ending of war; second, to recall people’s memory and thinking of the war.In the animation, the 14-year-old early youth, Seitai, and 4-year-old Setsuko lost their parents during the war. The tragedy that they strive for surviving from the ravages and ruins but they finally dies of hunger makes viewers feel sad, and the character of aunt ,who ever take the brother and sister in, however gives them sarcastic words, therefore becomes a typical frame of orphan-abusing bad step-mother.In memory of the sixtieth anniversary of the end of World War II, NTV produced TV opera in 2005, and the major characters was changed into the aunt, this change not only offers a defense from an adult people’s point of view, for that during the war, everybody has no remaining strength of caring others, but also further stresses the cruelness of people’s situation of merely caring themselves during wartime.Comparatively, Nosaka Akiyuki, the author of the original novel has ever deprived his own younger sister of food in the insufficient period of war, afterwards the sister died of undernourishment, which left an irremovable wound to Nosaka’s heart.However, the most incomprehensible thing is that, both of Takahata Isao and Nosaka Akiyuki, have ever expressed that, they by no means wish to see that this movie becomes such a touching descriptive work of wartime orphan story. After an adoption and re-production, the creation ”Grave of The Fireflies” has driven out from the original structure composed by the original author, from some descriptive levels. Furthermore, the article will research how the post-war Japanese group memory to the war is being re-built and transformed by the media.