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2023/24 School of Chinese Research Student Seminar

Changing Strategies of Pema Tseden's Minority Films: Image Presentation and Narrative Content

從現實主義民族紀實到形式主義民族寓言——萬瑪才旦藏族電影中的情感真實

Abstract:

As a leading figure in Tibetan films, Pema Tseden has both the inner perspective and the method of academic directors. His series of Tibetan films have strong self-expression of the author. One of the most important expressions is that Pema Tseden's understanding of what is real - "emotional real", which has led to a great change in the strategies of his films at different stages. So there is a shift from a realistic style which highlights material detail to one that relies on stylised audio-visual techniques to present emotional truth in a more abstract and symbolic way. In terms of image presentation, it has been changed from realism to formalism; in terms of narrative content, it has been changed from ethnic documentary to ethnic allegory. Thus, in the presentation of the daily lifestyle and the Tibetan emotional origin, the value of the cultural subjectivity of the ethnic minorities is emphasized.

萬瑪才旦作爲藏族電影的領軍人物，身上集合了藏族人的内向視角和學院派導演的方法與氣質，其一系列藏族電影都帶有濃重的個人色彩和强烈的作者表述。其中，萬瑪才旦對於何爲真實的理解與表達——“情感的真實”，使其不同階段的電影作品呈現出較大的風格轉變：由充滿物質細節的寫實主義風格轉變爲依托風格化的視聽技法與象徵隱喻性的敘事内容來呈現情感真實，這在影像呈現技法上表現爲由現實主義向形式主義的轉變，在敘事内容上表現爲由民族紀實向民族寓言的轉變。在對少數民族日常生活風貌與民族情感源頭等多個文化層次内涵的展現中，强調了少數民族的文化主體性價值。