万玛才旦电影空间叙事的现代性表达

The Modernity Expression of Spatial Narration in Pema Tseden's Films

作为“藏地新浪潮”的旗手,万玛才旦从民族主体性的视角出发,立足于涉藏地区社会现代化转型的现实语境,开启了藏族母语电影创作的先河。从现代性叙事的共时性维度出发,万玛才旦将传统文化与大众文化、宗教信仰与世俗追求、科学理性与道德伦理等现代性冲突巧妙结合并置于对立呈现的牧野原乡与边地县镇、叠合并存的宗教景观与世俗场景、交互指涉的异位空间与寓言场域等“祛魅化”的涉藏地区表征空间之中,形成对涉藏地区个体命运的叙写和民族生存状态的观照,展现出其电影创作所具有的文化自觉意识和人文主义精神,为涉藏地区电影更好地融入主流文化市场提供了借鉴意义。

As the standard-bearer of the “Tibetan New Wave”,Pema Tseden started from the perspective of national subjectivity,based on the realistic context of the modernization of Tibetan society,and opened a precedent for the creation of Tibetan native-speaking movies.Starting from the synchronic dimension of modernity narration,Pema Tseden cleverly placed the conflicts of modernity such as traditional and popular culture,religious beliefs and secular pursuits,scientific rationality and moral ethics in the opposing nomadic villages and frontier towns,superimposed religious landscapes and secular scenes,mutual-referential alien spaces and fable fields,and other “disenchanted” Tibetan representational spaces,form the narrative of the destiny of individual Tibetans and the observation of the state of national existence.It shows the cultural consciousness and humanistic spirit of his film creation,which provides reference for Tibetan films to better integrate into the mainstream cultural market.