Ethnic Identity and Traces of Culture: Pema Tseden in a Centenary History of Films
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Haizhou Wang
Haizhou Wang is a professor of Film Studies at Beijing Film Academy. He serves as the dean of the postgraduate department and the head of the library of Beijing Film Academy.
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Wenjun Yan
Wenjun Yan is a Master of Arts in China Film Culture Institute at Beijing Film Academy.
Abstract
As a Tibetan indie filmmaker, Pema Tseden is endowed with an ethnic advantage. In his films, he focuses on the real-life conditions of Tibetans. Observing ethnic groups through the personal perspective of the individual, he profoundly contemplates the condition of Tibetan culture in the modernized world while reflecting on China through the geographical perspective of borderland. In terms of form, Pema Tseden’s films represent the unique features of Chinese film aesthetics and poetics by adopting special Tibetan images and the implicit narrative structure of blank space.
Funding source: “Research on the Value, Inheritance and Innovative Development of Chinese Art and Cultural Traditions in Contemporary Chinese Cinema”, 2020 Major Program in Art Studies Sponsored by National Social Science Fund of China
Award Identifier / Grant number: 20ZD18
About the authors
Haizhou Wang is a professor of Film Studies at Beijing Film Academy. He serves as the dean of the postgraduate department and the head of the library of Beijing Film Academy.
Wenjun Yan is a Master of Arts in China Film Culture Institute at Beijing Film Academy.
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Research funding: This work was supported by 2020 Major Program in Art Studies Sponsored by National Social Science Fund of China “Research on the Value, Inheritance and Innovative Development of Chinese Art and Cultural Traditions in Contemporary Chinese Cinema” (20ZD18).
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Postscript
The originally article entitled 民族身份与文化踪迹: 百年影史中的万玛才旦 was published in Dianying Xinzuo 电影新作(New Films) 2023(4): 60–65.
© 2024 Walter de Gruyter GmbH, Berlin/Boston
Articles in the same Issue
- Frontmatter
- Research Articles
- An Exploration of “Shadow Play”: An Analysis of the Origin of Chinese Film Aesthetics
- Ethnic Identity and Traces of Culture: Pema Tseden in a Centenary History of Films
- Rhythmic Vitality: Traditional Aesthetics and the Theoretical Vision of Contemporary Chinese Film Aesthetics
- Spiritual Wonderings: A Study of Phantasmagoria in Early Chinese Cinema
- A Study on the Aesthetics of Chinese “Handscroll Films”
- Tragedy and Tender Beauty: Exploring the Tradition of Kuqing in the Chinese Film School
- Revivalism in the New Life Movement and Cultural Conservatism in Early Chinese Films, 1934–1937
- Analysis Report on the Development of the Chinese Film Industry in 2023
- Renegotiating Jia Zhangke’s Contestious Auteurism on Douban
- Interview
- A “Creating God” Experience of Chinese Film Industry and Aesthetics: Conversation with Wuershan, Director of Creation of the Gods I: Kingdom of Storms
Articles in the same Issue
- Frontmatter
- Research Articles
- An Exploration of “Shadow Play”: An Analysis of the Origin of Chinese Film Aesthetics
- Ethnic Identity and Traces of Culture: Pema Tseden in a Centenary History of Films
- Rhythmic Vitality: Traditional Aesthetics and the Theoretical Vision of Contemporary Chinese Film Aesthetics
- Spiritual Wonderings: A Study of Phantasmagoria in Early Chinese Cinema
- A Study on the Aesthetics of Chinese “Handscroll Films”
- Tragedy and Tender Beauty: Exploring the Tradition of Kuqing in the Chinese Film School
- Revivalism in the New Life Movement and Cultural Conservatism in Early Chinese Films, 1934–1937
- Analysis Report on the Development of the Chinese Film Industry in 2023
- Renegotiating Jia Zhangke’s Contestious Auteurism on Douban
- Interview
- A “Creating God” Experience of Chinese Film Industry and Aesthetics: Conversation with Wuershan, Director of Creation of the Gods I: Kingdom of Storms
