暗房红光下，显影盘成为没有硝烟的战场，一群普通人的良知在民族危亡时刻渐次浮现……以照相馆方寸之地为窗，彰显中华民族抗争脊梁的电影《南京照相馆》上映后，好评如潮，打动无数观众。影片讲述了1937年南京城中，在一家名为“吉祥照相馆”的小店里，几位素昧平生的普通百姓如何在战火阴影下彼此掩护、用生命揭露残酷真相的故事。
Under the red light of the darkroom, the developing disc became a battlefield without gunpowder, and the conscience of a group of ordinary people gradually emerged during the national crisis; … The movie 'Nanjing Photography Studio', which showcases the backbone of the Chinese nation's resistance through the window of the photography studio, received rave reviews and moved countless audiences after its release. The film tells the story of a place in Nanjing city in 1937 called; Jixiang Photography Studio; The story of how several ordinary people, whom they had never met before, protected each other and exposed the cruel truth with their lives in the shadow of war in a small shop.
正如一位观众感言：“电影让我们看见了历史，记得脚下土地埋着的不屈。”集体记忆，是人类历史词典中的活性索引。因此，不论是作为民族的还是国家的，只有记住一些人和事的来龙去脉、是非曲直、善恶正邪，才能给未来的发展提供正确的方向与路径，使人们避免重蹈过去的覆辙。电影自诞生后，就凭借其独特的表达方式，以一种由现实影像构成的叙事文本示人，因具有为观众提供类似于历史真实风貌的“指认性”，而常被作为建构集体记忆的重要手段。其中，那些取材于真实事件的再现性电影，更是承担起建构“历史印章”、留存民族国家历史痛感的重要职责。出自 wwW.zuoWEnBA.nEt
As one audience member commented: '; Movies allow us to see history and remember the indomitable spirit buried beneath our feet. ” Collective memory is an active index in the dictionary of human history. Therefore, whether as a nation or a country, only by remembering the ins and outs, right and wrong, good and evil, can we provide the correct direction and path for future development, and prevent people from repeating the mistakes of the past. Since its birth, movies have relied on their unique way of expression to present themselves as narrative texts composed of real-life images, providing audiences with a sense of historical authenticity; Identification based; And it is often used as an important means of constructing collective memory. Among them, those representational films based on real events take on the responsibility of constructing; Historical Seal” The important responsibility is to preserve the historical pain of the nation-state.
不同于以往叙述悲剧的思路，《南京照相馆》通过聚焦小小照相馆内汇聚的乱世浮萍，紧扣“照片本是记载美好瞬间的寄托，却沦为日军粉饰暴行的工具”这一线索，让历史记忆由黑白照片走向大众的心灵。在导演的匠心独运下，每一帧镜头语言都有深意：贯穿全片的冷色调，强化了死亡和恐惧的氛围；暗房红光下显影液浮现的血色画面，象征真相在黑暗中苏醒；相机快门声与子弹上膛声的交替，暗示“影像即武器”的深刻寓意……同时，对尸体堆叠、血色江水等场景，则采用了远景或剪影呈现，避免血腥特写却冲击力十足；来自天南地北的避难者用乡音念出北京故宫、杭州柳浪闻莺、武汉黄鹤楼等充满诗性意象的镜头，更将破碎山河与完整国魂熔铸一体，成为民族集体记忆的显影剂。
Unlike the previous narrative of tragedy, 'Nanjing Photography Studio' focuses on the chaotic world of floating duckweed gathered in a small photography studio, closely following the theme of '...'; Photos were originally meant to record beautiful moments, but they have become tools for the Japanese army to whitewash atrocities; This clue brings historical memory from black and white photos to the hearts of the masses. Under the director's ingenuity, every frame of the camera language has a profound meaning: the cool tones that run through the entire film strengthen the atmosphere of death and fear; The blood red image of the developer emerging under the red light in the darkroom symbolizes the awakening of truth in the darkness; The alternation of camera shutter sound and bullet loading sound implies; Images are weapons; The profound meaning of… … At the same time, for scenes such as stacking corpses and bloody rivers, distant views or silhouettes are used to avoid bloody close ups but have strong impact; Refugees from all over the world use their local accent to recite poetic images such as the Forbidden City in Beijing, Liulang Wenying in Hangzhou, and the Yellow Crane Tower in Wuhan. They blend the shattered mountains and rivers with the complete national soul, becoming a developer of the collective memory of the nation.
影片的动人之处，还在于它避免了对苦难的简单呈现，而是始终以写实的态度关怀“小人物”。剧中，无论是冒名求生的邮差阿昌、为日军工作的翻译王广海，还是怀抱演员梦的毓秀、市井气息浓郁的照相馆老板老金，最初都只是简单地“想活下来”，然而，随着一次次看见洗印的照片里的影像，人的良知和朴素的民族情感让他们逐渐改变，为了“让罪证留下来”，他们变得可以为了一些超越个体生死的事情而冒险乃至牺牲。当把记录屠杀的底片塞进戏本子的那一刻，艺术与历史、美与恶的碰撞便直戳人心，让人看到苦难里那永不磨灭的凡人微光。
The moving aspect of the film lies in its avoidance of simple depictions of suffering, and its consistent concern for reality; Little people;. In the drama, whether it's the postman Ah Chang who pretends to survive, the translator Wang Guanghai who works for the Japanese army, or Yu Xiu who dreams of being an actor, or the photo studio owner Lao Jin who has a strong street atmosphere, all of them initially just simply; I want to survive; However, as they repeatedly saw the images in the printed photos, their conscience and simple national emotions gradually changed them, in order to; Let the evidence of the crime stay; They become willing to take risks and even sacrifice themselves for things beyond individual life and death. At the moment when the film recording the massacre is stuffed into the storybook, the collision between art and history, beauty and evil, touches people's hearts, allowing them to see the immortal human light in the suffering.
暗房里，显影液中的南京城轮廓逐渐清晰；银幕外，一个民族的精神底色在光影交错中苏醒。作为一部浸润城市基因的作品，《南京照相馆》中的本土元素也引发了南京观众的强烈共鸣。从童谣《城门城门几丈高》的多次出现，到邮差阿昌的工作编号1213；从泛黄的《新华日报》上《日寇在南京兽行》的铅字标题，到战时照片中的断壁残垣与今日南京梧桐荫下的街景重叠，历史与现实完成了震撼对话。胶片或许褪色，但当每个观者成为“显影历史的活性酶”，记忆便获得了永恒的生命力。
In the darkroom, the outline of Nanjing City in the developer gradually became clear; Outside the screen, the spiritual essence of a nation awakens in the interplay of light and shadow. As a work infused with urban genes, the local elements in 'Nanjing Photography Studio' have also resonated strongly with Nanjing audiences. From the multiple appearances of the nursery rhyme 'How high is the city gate?' to the work number 1213 of postman Achang; From the print title of "Japanese Invaders Walking in Nanjing" on the yellow Xinhua Daily, to the overlapping of the ruins in the wartime photos and the street view under the shade of wutong in Nanjing today, history and reality have completed a shocking dialogue. Film may fade, but when every viewer becomes; Active enzymes that visualize history; Memory gains eternal vitality.