万玛才旦电影中的风景呈现与“真实”话语

Landscape Presentation and“Real”Discourse in Pema Tseden’s Films

作为“藏地新浪潮”电影的中坚力量,万玛才旦的电影在与前人对话的场域中建构了对西藏的“真实”呈现,这一过程在其电影的风景呈现中得到了凝聚。不同于以往西藏题材电影中带有隐喻意义的西藏风景,万玛才旦对西藏风景进行了去隐喻化的处理。然而,这种处理乃其对西藏风景进行过滤的结果,其影片对西藏风景之色彩的加工便是这一过滤的表现。经此,所谓的西藏真实让位于创作者个人理念的真实。对个体真实的诉求在使作品展现出颇具实验性的效果之后也使其面临着更大的困境。如何寻找一种方式打破“地方”的局限,呈现出在不拘泥于民族身份的同时又具有共同体意义的西藏风景,这将是包括万玛才旦在内的一代西藏影人共同面临的挑战与机遇。

As the backbone of the“New Wave of Tibetan films”,Pema Tseden’s films construct a“real”presentation of Tibet in the context of dialogue with predecessors,and this process is condensed in the presentation of the landscape in his films.Unlike the metaphorical Tibetan landscapes in previous Tibetan films,Pema Tseden has de-metaphorized Tibetan landscapes.However,this process is the result of filtering the Tibetan landscapes,the color processing of the Tibetan landscape in his films is the performance of such filtering.After this,the so-called Tibetan truth gave way to the reality of the creator's personal ideas.The demand for individual truth made the works face a greater dilemma after showing quite experimental effects.How to find a way to break the limitations of the“place”and present a Tibetan landscape which is not limited in national identity but also has community significance,that will be a common challenge as well as a chance for a generation of Tibetan filmmakers including Pema Tseden.