雪豹之眼:“视角主义”下电影《雪豹》的空间结构与魔幻隐喻  

Through the Eyes of the Snow Leopard:The Spatial Structure and Magic Metaphor of the Film Snow Leopard under Perspectivism

作　　者：才贝[1] Cai Bei

机构地区：[1]青海民族大学民族学与社会学学院

出　　处：《西藏艺术研究》2024年第2期92-97,共6页Tibetan Art Studies

摘　　要：电影《雪豹》通过魔幻现实主义手法,营造了“魔幻”与“现实”两个极具特色的空间,并通过雪豹视角的转变,完成了影片表层结构与深层结构的融合。《雪豹》与以往万玛电影不同之处在于其颇具匠心的拍摄手法即以雪豹的视角出发,通过雪豹与喇嘛之间的灵性交流、人豹作为“食肉者”的共同身份、雪豹作为母亲等其他可以理解的共情角度,刻画了青藏高原人兽冲突中的复杂情境,突出了雪豹作为有情感、讲伦理的主体地位,可谓是“视角主义”在涉藏电影中的成功展现。The movie Snow Leopard constructs two distinct realms of“magics”and“reality”through the lens of magical realism,blending the film’s surface and underlying structures by shifting the perspectives of the snow leopard.What distinguishes Snow Leopard from previous works by director Pema is its innovative filming approach,which begins with the viewpoint of the snow leopard.Through the spiritual exchanges between the snow leopard and the monk,the film shows the shared identity of humans and leopards as“predators,”and other empathetic aspects such as portraying the snow leopard as a nurturing mother,the film depicts the intricate scenarios of human-animal conflicts on the Qinghai-Tibet Plateau.It emphasizes the snow leopard’s portrayal as a sentient and morally conscious being,marking a successful portrayal of“perspectivism”in Tibetan-themed cinema.

关 键 词：雪豹 叙事空间 魔幻现实主义 视角主义 

分 类 号：J905[艺术—电影电视艺术]