怪獸國族主義之形構：哥吉拉與戰爭記憶

Abstract

1954年的《哥吉拉》整合東京空襲和原爆這兩大二戰象徵，成為日本的國民電影。作為做為對二戰的記憶裝置，《哥吉拉》展現了一套與官方國族主義十分貼合的「受害者」論述，它強調日本做為核子武器唯一受害國的角色，進而對現代性做為一種「自我補償」式的反思。 本論文希望探究的根本問題是不同年代的哥吉拉電影中貼合了那種日本國族敘事？這些對於歷史事件的追憶又如何能鑲嵌在類型美學之中，使其得以持續運作？本文從「怪獸做為追憶特定歷史空間的產物」的角度切入來拆解哥吉拉身上所具有的獨特空間性。 本文以1954年版本的哥吉拉電影為基礎，比對不同年代的哥吉拉電影如何對這部電影中反映的歷史事件與電影美學進行「追憶」與「失憶 」。在這個歷程中，哥吉拉電影所貼合的國族敘事，從最初「和平憲法」下以追憶二戰亡者而基礎構成的官方國族主義，逐步轉變成以追憶哥吉拉為中心的酷日本式的國族主義。 記憶透過特殊的裝置（電影）而得以再現，哥吉拉電影的類型形構過程中，其追憶的空間記憶一次次被挪用改變。特定的空間記憶被拆解成各種類型美學的要素而存於電影系列之中。最終原先應作為寓言載體的怪獸完成了主客倒反的突變，成為故事成就的目的與對象。

In 1954, "Godzilla" integrated the two major symbols of World War II, the Tokyo air raids and the atomic bombings, becoming a national film in Japan. As a memory device for the war, "Godzilla" presented a narrative closely aligned with official nationalism, emphasizing Japan's role as the sole victim of nuclear weapons and thus leading to a "self-compensation" type of reflection on modernity. This dissertation aims to explore what kind of Japanese national narrative is embedded in different eras of Godzilla films. How does the remembrance of historical events intertwine with genre aesthetics, enabling its continuous operation? This dissertation tried to figure out the unique spatiality in Godzilla's movie based on the perspective of "monsters as products of remembering specific historical spaces.. Built on the 1954 version of Godzilla, this paper compares different eras of Godzilla films and examines how they engage in "remembering" and "forgetting" the historical events and film aesthetics depicted in the original movie. Throughout this process, the national narrative embedded in Godzilla films has gradually transformed from the official nationalism to the cool Japan style nationalism. The object of remembrance in the movie shifts from the victims of World War II to Godzilla himself Memory is reproduced through a special device (movie) , and in the process of constructing the genre of Godzilla films, the spatial memory of its reminiscences has been appropriated and changed. Specific spatial memories are disassembled into elements of various genre aesthetics, stored within the film series. Ultimately, the monster that was originally supposed to be the vessel of the parable has become the purpose and subject of the story's achievement.