Tibetan Movie Narrative Research Since 2000

There are many excellent Tibetan genre films emerging since 2000. At the same time, the narrative theory about these works is also enriched and innovated constantly. This thesis mainly works on Tibetan genre films since 2000 and combines with film narrative theory to study the domestic movie narrative connotation of Tibetan since 2000.This thesis consists of introduction, research contents and conclusion. This paper researches the domestic Tibetan genre movie narrative characteristics from the narrative theme, narrative of time and space as well as narrative subject since 2000.The Tibetan genre movie narrative theme is studied in the first chapter. Since 2000, Tibetan movie narrative theme is developed based on the development in the last century, mainly about the following aspects. Such as shaping hero theme movies tends to the background of the grand narrative and SIMS materialization of heroic image gradually; the ratio of love theme in the film rises continuously, which is displayed by three patterns--regarding Tibetan as the love refuge, viewing Tibetan area as the love scene and comparison between two different generations’ attitude toward love; lifestyle becomes a trend, daily life is shown more apparently and daily details are inserted into the movie such as televasion and study. Soul redemption theme is presented by another euphemistic way, especially the "highway" becomes the symbol of growth. And the soul grows through constant pursuit in the road.The second chapter studies the narrative style of time and space about Tibetan genre movie. The space narrative of Tibetan genre films presents not only the object itself, but also as a unique narrative expression of the space. It plays a significant role in promoting the development of film narrative. Tibetan movie time narrative divides into two parts in this paper. It narrates by the rhythm at the micro level and through the style from a macroscopic view in chronological order. According to the study on space-time narrative of Tibetan movie, readers can not only understand the narrative of film from the inside structure, but also see the framework of whole film from the structure of its space and time.The third chapter is about the narrative theme of Tibetan genre movie. Based on Gerard Genette’s narrative theory, the narrative theme is divided into viewpoint and the narrator. The narrator of Tibetan genre movie and the role of narrative point of view in the structure of movie are analyzed detailedly in this chapter. The narrator of Tibetan movie includes both the narrator and the identity form of its director. It can make the film narrative subject clear through the analysis of Tibetan genre film.