本文主要是將東亞地區（臺灣、南韓與日本）三部紀錄片，包括了《赤陽》、《漫漫哀傷》與《怒祭戰友魂》，進行一個參照與比較，尤其是它們不僅都涉及到個體如何因帝國的戰爭而受到身心的創傷，同時，也透過不同的美學實踐，再現了被壓抑的記憶乃至於尋求療癒的方式，進一步反映出對於殖民主義的不同追問。在此，紀錄片的文化生產，猶如一場精神分析的對話過程，一方面是透過音像記錄的自身，再現了創傷及其療癒的方式，另一方面是音像記錄的過程，召喚了過去的記憶，詮釋著對於當下與未來的認識，並衍生出政治爭議的差異化，而透過此一參照與比較，本文亦企圖釐清它們可能衍生的啟示與彼此之間的連帶關係。

This paper deals with representation of the trauma of World War II in three documentaries, namely Heat Sun (2007) from Taiwan, Habitual Sadness (1997) from South Korea and The Emperor's Naked Army Marches On (1987) from Japan, and specifically explores how the cultural production of documentaries becomes a healing conversation and a form of psychoanalysis. In these documentaries, three directors used different methods (just like oral history, companion or participant observation) to represent traumatic memories, experiences or narratives of subjects (whether Taiwanese-Japanese-soldiers, South Korean ＂Military Comfort Women＂ or Japanese soldiers) under imperialism. The whole cultural production (from shooting, editing to screening) of documentaries thus became some kind of healing conversation in the psychoanalysis therapy. This paper also argues that a dialogue contained in these documentaries is needed and opens the possibility of building connections among vulnerable or minority groups in East Asia to share historical experiences and trauma memories with one another, and to cooperate to rethink the influence or meaning of colonialism until now.