Memory, Empathy, and the Politics of Identification
Memory, Empathy, and the Politics of Identification
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记忆、同理心和认同政治
DOI：
10.1007/s10767-009-9056-x
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发表时间：
2009
期刊：
影响因子：
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通讯作者：
Alison Landsberg
中科院分区：
文献类型：
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作者：
Alison Landsberg
这篇文章探讨了我在其他地方称为“假体记忆”的伦理和政治层面（兰德斯伯格，假体记忆：大众文化时代美国记忆的转变，哈佛大学出版社，2004），重点关注那些被制作和传播的电影。我认为，电影技术，我指的也包括好莱坞电影制作风格中使用的主流电影惯例和实践，是构建视觉的有效手段。通过特定的拍摄和剪辑技术，电影试图以高度特定的方式定位观众，与展开的叙事有关。有时，在这样的电影中，观众被带到与他们自己生活经验之外的一系列经历的亲密接触中，因此，他们被迫通过别人的眼睛去看，并被要求记住那些既有意义又可能形成影响的情况和事件。通过采用旨在引起认同的特定策略，电影可以迫使观众在智力和情感上与与自己截然不同的人进行接触。这种跨越差异的复杂形式的认同可能会使观众以一种能够促进旨在推进平等主义社会目标的更激进的民主形式的方式来看待和思考。
This essay explores the ethical and political dimensions of what I have elsewhere called “prosthetic memories” (Landsberg, Prosthetic memory: The transformation of American remembrance in the age of mass culture, Harvard University Press, 2004), focusing on those that are produced and disseminated cinematically. I argue that cinematic technology, by which I mean also to include the dominant cinematic conventions and practices used in the Hollywood style of filmmaking, is an effective means for structuring vision. Through specific techniques of shooting and editing, films attempt to position the viewer in highly specific ways in relation to the unfolding narrative. Sometimes, in such films, viewers are brought into intimate contact with a set of experiences that fall well outside of their own lived experience and, as a result, are forced to look as if through someone else’s eyes, and asked to remember those situations and events as both meaningful and potentially formative. By engaging specific strategies intended to elicit identification, films can force viewers to engage both intellectually and emotionally with another who is radically different from him or herself. This complicated form of identification across difference might condition viewers to see and think in ways that could foster more radical forms of democracy aimed at advancing egalitarian social goals.