民族元素与共同体想象交融的美学镜像——万玛才旦电影论

The Aesthetic Mirror of the Integration of National Elements and Community Imagination:Study on Pema Tseden’s Films

万玛才旦是21世纪“藏地新浪潮”电影的执牛耳者,其以作家兼导演双重身份借光影展开民族与世界的对话。观万玛近十部影片,主题聚焦于藏区生活,以启蒙与反启蒙的镜像留白来呈现文化的承递、交融、断裂与反思;视听空间彰显民族性,民族元素由表及里立体糅合,高原景观、藏文化、藏艺术等多向度表达一个“真实”的藏区;镜像格调极具辨识度,象征、简约的构图习惯,互文的阐释方法,重复镜像的虚实消解等显示出万玛的镜像标签,同时作者电影主体性与类型化存在对弈;尝试以民族与世界对话的光影方式介入共同体想象,由个体人情感指向人类共通情感,藉此实现美学共同体。

Pema Tseden is the leader of the“Tibetan New Wave”films in the 21st century,and as a writer and director he uses light and shadow to carry out dialogue between the nation and the world.In nearly ten films of Pema Tseden,the theme focuses on the daily life in Tibetan areas,and presents the inheritance,integration,rupture,and reflection of culture with the mirror image of enlightenment and anti-enlightenment.The audio-visual space highlights the nationality and national elements are blended from the outside to the inside.The plateau landscape,Tibetan culture and art express a“real”Tibetan area.The mirror style is highly recognizable,symbolic and simple composition habits,intertextual interpretation methods,and the virtual and real resolution of repeated images show Pema Tseden’s mirror label.At the same time,there is a game between the subjectivity and genre of the film.The film tries to open the dialogue between the nation and the world,involves the imagination of the community,maintains the microscopic exploration of individual human emotions,and points from individual human emotions to the common human emotions to realize the aesthetic community.