从性别角色到局内局外:电影《雪豹》的视角转换  

From Gender Role to Emic-Etic:The Shifts of Perspectives in Snow Leopard

作　　者：黄钰晴 Huang Yuqing

机构地区：[1]中央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98-106,共9页Tibetan Art Studies

摘　　要：万玛才旦执导的电影《雪豹》于2024年4月正式于中国内地公映,这一影片围绕一只跳进牧民羊圈的雪豹展开。影片主人公雪豹喇嘛喜爱拍摄雪豹,却一直未拍摄跳入自家羊圈的雪豹。逻辑悖逆背后承载着性别与家庭角色的隐喻,以及电影创作者对影视内部与外部视角转换的探索。《雪豹》所折射的生命一体的自然观,以及对“自我”的反思精神,对现今正面对生态危机,急需重新思考自我与它者关系的人类社会有重要意义。The film Snow Leopard,directed by Pema Tseden,was officially released in China's Mainland in April 2024.The story revolves around a snow leopard that jumps into a shepherd’s sheepfold.The protagonist,Akhu Gsa,is passionate about filming snow leopards.However,he has never been able to film the snow leopard that jumped into his family’s sheepfold.The illogicality behind this plot carries metaphors about gender and family roles,as well as the filmmaker’s exploration of the shifting emicetic perspectives in the film.Snow Leopard reflects the view of nature-life unity and the spirit of selfreflection;these hold significant importance for contemporary human society,in which we are facing an ecological crisis and urgently need to rethink the relationship between ourselves and others.

关 键 词：《雪豹》 万玛才旦 视角 

分 类 号：J93[艺术—电影电视艺术]