Research On Tibetan Films

Entering the new century,based on the love and pursuit of movies,Tibetan directors Wanma Caidan and Sonthar Gyal used pictures and sounds to show the audience the local customs and folk culture of their hometown.Compared with the traditional Tibetan films,the works of this two directors deepen and highlight the documentary aesthetic style through Tibetan dialogue,live shooting and non-professional actors' performances.It enables the audience to feel the real Tibetan traditional culture and life through their movies.And these life-oriented works are also an important support for Tibetan film research.In the article "Research on Tibetan Films-Taking the Works of Wanma Caidan and Sonthar Gyal as Examples",the introduction defines the Tibetan films and clarifies that the works of Tibetan directors Wanma Caidan and Sonthar GyalL belong to the category of Tibetan films,and these works are suitable for the study of Tibetan films.The first part of the text is an overview of the development of Tibetan films.Taking the history of the development of Chinese Minority Films as the background,Tibetan films can be divided into three stages of development,namely,the initial stage,the exploration and development stage and the pluralistic stage.This systematically combs the characteristics of Tibetan films in different stages of development.Next,the article shows in the second section that the early Tibetan theme movies were dominated by the Han consciousness and adopted the Han language,forming the characteristics of nationalization and landscaping of Tibetan theme movies.The second part of this paper is about the cultural construction of Tibetan films.Based on the perspective of film culture,through the works created by Tibetan directors from the "internal perspective",this paper explores the migration of the cultural focus of Tibetan films.The second section of this part analyses the Tibetan Buddhism and the outlook on life and death presented in the film,which shows that the Tibetan film's "nationalization" narrative style is transcendent compared with the traditional Tibetan film.The third part of this paper is about the analysis of Tibetan film works,taking the works of Tibetan directors Wan Ma Caidan and Sonthar Gyal as examples,and combining the related theories of film image ontology,film narratology and film semiotics.Comparing the narrative theme,aesthetic style and image artistic features of the two Tibetan directors' works and deeply analyses the common points and differences between the two directors' works,thus reflecting the innovativeness and artistic value of Tibetan films.