《鬼乡》(2016,韩国)以残酷战争中的无辜受难者作为艺术呈现的对象,关注极端生存情境中的命运遭际,虽难以摆脱个体苦难背后深邃的历史语境表述,但电影并非简单地对历史史诗的摹写与还原,而是试图以历史材料为基础进行想象化重塑,谋求与当下接受对象达成心理共振。从女性身体、殖民身份、文化身世三个维度出发,解析影片《鬼乡》如何通过创伤记忆的回顾、疗救与反思的方法与策略,最终实现了民族主体话语重构的目的。 Ghost township (2016, South Korea), who take the innocent victims of the brutal war as the object of art and pay close attention to the fate of the victims in extreme survival situations, can hardly get rid of the deep historical context behind individual suffering. However, the movie is not simply Instead, he tries to recreate the historical epic and restores it. Instead, he tries to reconstruct the imagination based on historical materials and seeks to reach a psychological resonance with the present recipients. From the three dimensions of female body, colonial status and cultural life experience, this article analyzes the ways and tactics of the film “Ghost Township” through the review, rescue and reflection of traumatic memories, and finally realizes the reconstruction of the national subject discourse.