大地涌动的微尘——“电影哲学家”万玛才旦  

The Surging Dust of the Earth: “Cine-Philosopher” Pema Tseden

作　　者：周佳鹂[1,2] Zhou Jiali

机构地区：[1]中国美术学院 [2]中国美术学院导演系

出　　处：《电影艺术》2023年第6期81-87,共7页Film Art

基　　金：2022年度国家社科基金艺术学项目“中国诗性电影的形式美学研究”(项目编号:22BC051)阶段性成果。

摘　　要：万玛才旦的电影始终触及哲学关怀的生命母题,其影像之思可以从四方域、人的逃离和纯然物性三个层面讨论。万玛才旦的影像潜入一片有纵深的高原,天、地、神、人为他的电影提供了坐标系,海德格尔意义上的“世界化”在物的持存中得以成立。他以细小的笔触敏锐捕捉到在多重二元性构成的张力中人本真性的沉沦过程,同时也指向了本质性的枷锁。人在对我之为我的身份同一性的逃离中获得了行动的激情并最终通过返归于纯然之物而安放心灵。Pema Tseden's films consistently touch upon the philosophical motif of life's essence. This article will approach Pema Tseden's cinematic philosophy from the perspectives of the Fourfold, human escapism, and nature of purely factual things. Pema Tseden's image delves into a vast plateau where the heavens, earth, god, and human provide a coordinate system for his films, establishing a Heideggerian sense of “worldhood”within the being of things. With keen brushstrokes, he captures the process of human essence's sinking within the tensions formed by multiple dualities, while also pointing towards essential constraints. Through the escape from the self-identity of “me”, human finds the passion for action,and ultimately find solace for their souls by returning to the realm of pure materiality.

关 键 词：四方域 物的持存 逃离主义 影像之思 

分 类 号：J911[艺术—电影电视艺术]