Research On The Spatial Narrative Of Pema Tseden’s Film

Pema Tseden started his film creation in 2002 and has completed seven feature films so far.Unlike the creators who are bound by the tide of commercialization,Pema Tseden has been depicting the real spatial form of Tibet in the process of modernization with a calm and objective inner introspection.And through the relationship between space and the subject to show the Tibetan people in the face of cultural integration of the real state.Pema Tseden’s self-conscious expression is of great significance to the development of Tibetan films.His debut film,Quiet Stone,became the first truly Tibetan film in China’s century-old film history.With the perspective of natural culture,Pema Tseden used his poetic style and calm and objective long shot to express the real daily life of Tibetan people,and completed the "disenchantment" of the landscape presentation.With the wave of modernization,the Tibetan ethnic group also began to show the discomfort of cultural integration.Compared with the Han nationality,the unique religious attribute makes the Tibetan ethnic group feel more strongly.With his keen observation,Pema Tseden intuitively presents the living experience of the Tibetan nation in the midst of cultural change,and describes the historical memory of the nation with a pre-modernity rhythm.Through the perspective of spatial narrative,this thesis makes an in-depth analysis of the presentation of Tibetan space in Pema Tseden’s films,and clarifies the cultural meaning of the space,so as to realize cultural reflection in the sense of spatial narrative.In the introduction part,the background and research significance of the topic of this thesis are firstly explained,and then the research status of the topic is understood through the combing and analysis of relevant literature,and the conceptual basis of the Tibetan film used in this thesis is clarified through the discrimination of relevant concepts such as Tibetan film,Tibetan film,Tibetan language film and Tibetan film.Finally,the creation background of Pema Tseden is sorted out.It is found that his film creation is deeply influenced by Tibetan culture and his novel writing.The first chapter,with the help of Lefebvre’s "three-dimensional spatial dialectics" theory,divides the space in Pema Tseden’s films into three categories: geographical space,social space and spiritual space,and selects typical space scenes for analysis,in order to reveal the deep cultural significancecontained in the film space.The second chapter,through studying the spatial narrative structure,spatial narrative image and spatial narrative perspective in Pema Tseden’s films,finds that the spatial narrative techniques are directly related to the expression of its theme.For example,the animal image,body image and prop image in the spatial narrative image all point to the cultural conflict between "tradition and modern".The third chapter is based on the study of the narrative space and spatial narrative techniques in Pema Tseden’s films,and finds that Pema Tseden’s films contain his cultural reflection as an intellectual.In the face of the integration of multicultural contexts,the situation of women and the identity anxiety in cultural integration are all worthy of in-depth study.At the same time,Tibetan films,as an important branch of ethnic films,should respond to the sense of community of the Chinese nation with a positive attitude.