摘要
万玛才旦在电影《气球》中一以贯之的以兼具诗意与作者性的目光关照故乡的日常生活,续接其反思民族历史的叙事母题,自觉承担起藏地空间的影像表达,试图对“他者化”的藏地空间进行影像“祛魅”。影片通过民族内省视角下的视觉符码建构宗教文化与现代文明的冲突,重构一个带有原初性的、精准的、善意的、虔诚的藏语世界。万玛才旦试图用他独特的作者性写作手法柔软温和地给出兼顾信仰力量与人文关怀的答案,并且影片在宣传手段上进行了实验性质的产业突围,实现了藏地题材电影的全新突破。
In the movie Balloon,Pema Tseden consistently cares for the daily life of his hometown in Tibet through poetic expressions,continues his reflective narrative on ethnic history,consciously undertakes the visual presentation of Tibetan space,and tries to visually"disenchant"the"othering"of Tibetan space.The film constructs the conflict between religious culture and modern civilization through visual symbols from the perspective of ethnic reflexivity.Also,it reconstructs a Tibetan-speaking world with originality,precision,good intentions,and faith.Pema Tseden tried to use his unique authorial writing technique to give a soft and gentle answer that concerns the power of faith and humanistic care.Moreover,the film conducts an experimental industrial breakthrough through publicity and promotion of the film and achieves innovationamongTibetan-themed films.
出处
《西藏艺术研究》
2023年第3期32-38,共7页
Tibetan Art Studies
