ABSTRACT In mediating the vast distances between the theatres of the First World War and the home front, lantern slides and their projection apparatus, the magic lantern, have been substantially overlooked by scholars. Using a series of lantern lectures given across New Zealand in 1926 as a case study, in this article I explore the ways in which the medium functioned as both a carrier and shaper of memory and commemoration in a postwar environment. The lectures focused on New Zealand’s battlefield memorials and were delivered by their architect, Samuel Hurst Seager, who photographed their construction between 1921 and 1924 and introduced a plethora of war memorial material to New Zealand. Examining the assemblage of materiality, narratives, performance, sensory experience and setting, this article contends that the lantern lectures played an important part in enabling New Zealanders’ consumption of visual and material modes of war commemoration. Audiences nationwide became participants in the communal remembrance of the war as the functions of the battlefield memorials were planted in their consciousness. However, the limitations of lantern slide media suggest that counter to perceptions of permanence that typically surround war memorials, these monuments were also subject to cultural erasure in New Zealand’s collective memory.

中文翻译：

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投射记忆：灯笼讲座和新西兰第一次世界大战战场纪念表演

摘要 在调停第一次世界大战战区与国内战线之间的遥远距离时，灯笼滑梯及其投影设备——魔灯，已被学者们严重忽视。在这篇文章中，我以 1926 年在新西兰各地举办的一系列灯笼讲座作为案例研究，探讨了媒体在战后环境中作为记忆和纪念的载体和塑造者的方式。讲座的重点是新西兰的战场纪念馆，由建筑师塞缪尔·赫斯特·西格 (Samuel Hurst Seager) 讲授，他拍摄了 1921 年至 1924 年间的建筑，并向新西兰介绍了大量战争纪念馆材料。检查物质性、叙事、表演、感官体验和环境的组合，本文认为，灯笼讲座在使新西兰人能够消费战争纪念的视觉和物质模式方面发挥了重要作用。随着战场纪念碑的功能被植入到他们的意识中，全国的观众成为了共同战争纪念的参与者。然而，灯笼幻灯片媒体的局限性表明，与通常围绕战争纪念馆的永久性认知相反，这些纪念碑在新西兰的集体记忆中也受到了文化抹杀。