东影西渐中的藏族性灵艺术家万玛才旦  

Pema Tseden, Tibetan Spiritual Artist in Oriental Influence on the Occidental Cinema

作　　者：徐枫[1] Xu Feng

机构地区：[1]中央戏剧学院电影电视系

出　　处：《电影艺术》2023年第6期74-80,共7页Film Art

摘　　要：年鉴派史学是适宜研究万玛才旦影片的方法论。他的创作产生于中国藏地的长时段历史沉淀与当代文化情境之中,并参与了电影史上东方电影影响西方电影的第二次浪潮。他的影片是对藏地文化传统和现代性问题的深刻反思,表现了极度物质主义社会中人的悲剧,尝试在现代性中保持传统的精髓。他从具文献性的现实主义中,蜕变出性灵现实主义风格,并接续沟口健二的传统,发展了一种性灵现实主义的电影语言。他对“苦谛”的认知成为探寻幸福和真理的路径。Annales school's historic research is a true method to study Pema Tseden's films. His art was born out of the Tibetan long-term historical structure and actual cultural context in China, and became one part of the second influence of oriental cinema onto the occidental cinema.His work is a profound reflection on the Tibetan cultural tradition and the modernity, showing the human tragedy in an extreme materialist society,so it is a practice to keep the best Tibetan tradition in the modernity. His style transformed from a realism richly documentary to a Spiritual Realism.Inspired by Mizogushi, he developed a Spiritual realist film language. His understanding about the Suffering(Dukkha) became a line to his search for the happiness and the truth.

关 键 词：年鉴派史学 藏地 东方电影 现代性 性灵现实主义 苦谛 

分 类 号：J911[艺术—电影电视艺术]