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Pema Tseden, or Wanma Caidan(萬瑪才旦): A Study on the Chinese Tibetan Director’s self-Portrait

  • The Journal of Chinese Cultural Studies
  • 2015, (27), pp.139-183
  • DOI : 10.18212/cccs.2015..27.006
  • Publisher : The Society For Chinese Cultural Studies
  • Research Area : Humanities > Chinese Language and Literature > Chinese Literature > Chinese Culture
  • Published : February 28, 2015

Kang Nae Young 1

1경성대학교

Accredited

ABSTRACT

The purpose of this study is to explore ‘Tibeta Film’ and Chinese Tibetan directorPema Tseden, and to resolve context analysis. Director Pema has continued writing novels from 1991 year, and until now directedtwo of short film, five of long film. This study analyse his representative three of longfilm which are <The Holy Silent Stone>(2005), <Old Dog>(2011), <The SacredArrow)>(2014). First of all, He has created characteristic mise-en-scene style which use ‘FixingCamera’, ‘Full Shot’, ‘Long Take’. these styles show the audience ‘have some time andspace how to reflect these movie’. Secondly, Through express ‘Tibetan-ness theme’, transmit to the audience nationalconsciousness about problems of political independence, development of modernization,etc. Thirdly, In the light of context meaning, His movies are ‘Tibet Film’ Which haveTibetan cultural identity, But, entail the two aspects of Tibet national consciousness andChinese unity ideology. Even though Pema Tseden has double identity, as a Sino-Tibetan, But, In terms of,‘The first Tibet Film’ which Tibetan express oneself about their language, culture, life,value, spirit, it is the significance in film history.

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