戰場之外：新聞紀錄片《中國之抗戰》與抗日戰爭時期中華民國的國際宣傳

電影製片人羅靜予創造了「新聞紀錄片」這一複合術語，將紀錄片作為戰時意識形態上的宣傳工具。 本文透過羅靜予「新聞記錄片」的概念，以及弗蘭克·卡普拉的鏡頭語言與旁白解說，分析《中國之抗戰》向美國民眾以去政治化的表達介紹中國國情與中國人民生活「戰時日常性」(Wartime Everydayness) 的宣傳策略。《中國之抗戰》致力於在反帝國主義與民族主義論述的浪潮中，調適英語世界觀眾對待東方、 對待中國的刻板印象，它以大量聚焦於人民大眾的鏡頭呈現了中國人民的苦難與抗爭，其平易近人的真實素材使戰時中國的宣傳更直抵人心。該部中美合作的「非典型性」新聞紀錄片，不僅是戰時中美友誼的直接見證，也是戰時中華民國國際宣傳的新嘗試。出人意料的是，新聞紀錄片《中國之抗戰》作為中華民國國際宣傳的重要資源，未能在美國與英文世界產生應有的反響，相反在戰後中國境內受到廣泛關注，並化約為國民黨與共產黨爭奪海外輿論陣地的文化標誌。

Filmmaker Luo Jingyu coined the compound term “Newsreel Documentary” as a wartime ideological propaganda tool. Through Luo Jingyu’s concept of “Newsreel Documentary” and Frank Capra’s lens language and commentary, this article analyzes the propaganda strategy of The Battle of China to American people with a depoliticized expression of “wartime everydayness” to introduce China’s national conditions and Chinese people’s life. The Battle of China is dedicated to adjusting the stereotypes of English-speaking audiences towards the East and China amid the wave of anti-imperialist and nationalist discourses. The film presents the suffering and struggle of the Chinese people with a large number of lenses that focus on the people in an empathetic way. The real materials of the wartime China propaganda were more directly into the hearts of the people. The “atypical” newsreel documentary of Sino-US cooperation was not only a direct witness to the friendship between China and the United States, but also a new attempt at international propaganda of the Republic of China during the war. Surprisingly, The Battle of China, as an important resource for the international propaganda of the Republic of China, failed to generate due repercussions in the United States and the English-speaking world. On the contrary, it received widespread attention in post-war China and became a cultural symbol of the Kuomintang and the Chinese Communist Party competing for overseas public opinion positions.