Image Writing Of Tibetan Culture

This article uses the seven "mother tongue movies" of the Tibetan director Wanma Caidan as a blueprint to try to sort out the consistent ethnic characteristics embodied in the works,and explore the commonalities and rules in film creation.Wanma Caidan has a strong"author and director" characteristic.Starting from the "Tibetan Hometown Trilogy",the director’s unique style began to appear.The subsequent commercial "Colorful Arrow" reflects the director’s strong personal The continuation and exploration of style,and the birth of"Taluo","Bumped a Sheep" and "Balloon" marked the gradual maturity of Wanma Caidan’s creative style.Without exception,Wanma Caidan’s films start with small characters,showing the original picture of Tibetan life,while documenting the confusion and confusion of the ethnic group in the process of modernization,seeing the big from the small,and shaping the"lost way" under the perspective of modern civilization."Characters,to break the mysterious imagination of Tibetans on the plateau,to show the collective life and mental state of the Tibetan people in the new era.This article is mainly divided into three chapters to sort out the creative characteristics of Wanma Caidan’s film works.The first chapter analyzes the common tendency of the themes of the films directed by Wanma Caidan.His films attempt to interpret and interpret the Tibetan culture in a modern way through the local return and reconstruction of Tibetan society.Individuals and Tibetan groups carry out allegorical writing to explore Tibetan cultural symptoms and ethnic identity;Chapter Two analyzes the ethnic characteristics of Wanma Caidan’s films from a narrative perspective,and explores the “flow of life” that restores the real life of Tibetans in his films "The minimalist narrative structure,the construction of multiple narrative spaces that highlight the collision and changes of Tibetan culture,and the endogenous narrative perspective that highlights the current cultural integration and the psychological state of the Tibetan people,presents the daily Tibet in a gentle and quiet narrative;Chapter Three Research The unique image style of Wanma Caidan’s de-spectacularization shows the charm of Wanma Caidan’s images from the perspective of audiovisual language.He portrays the psychological state of Tibetans through the use of symbolic lens,sound and picture modeling,and builds The subjective world of the Tibetan people highlights the process of the Tibetan people’s helplessness,confusion and constant pursuit in the cultural collision.On the whole,Wanma Caidan attaches equal importance to film thought and art,and his creative techniques provide a certain reference for the documentary creation of current ethnic minority films.