The Power Of Everyday Narrative

This thesis focuses on Win Pulin’s Tibetan videos and analyses the Tibetan people and everyday cultural phenomena in Wimprin’s videos.The aim is to make out the spiritual core and the state of the free mind of Tibetan people through the analysis of these video works and image subjects.At the same time,the paper attempts to consider the sense of normality presented by the viewing perspective of Win Pulin’s videos,and the psychology of this normalcy in viewing the world.The first chapter of this thesis focuses on Win Pulin’s actions,reflections,creations and first forays into Tibet in the pioneering art scene of the 1980 s,as well as the genesis of the documentary film on Tibetan themes.In addition,the first chapter traces the occurrence and transformation of Wimprin’s early artistic pursuits and unearths the origins of his independent video documentation.While Wen was an important early witness and organiser of China’s contemporary art scene,he left the lively contemporary art scene before the 1980s(1989).After spending most of the 1990 s on a spiritual journey through Tibet,Wen took up the camera and began to document the humanities and everyday life in Tibet,as well as various interesting stories.Wen Pulin has not completely disassociated himself from the contemporary art scene,but has remained more or less in a relationship of immanence.Through the examination of relevant documents,and in a logical relationship through time,this thesis will sort out the transformation of Wen Pulin’s art.The second chapter focuses on Win Pulin’s Tibetan documentaries and other related works.This chapter is going to collate and analyse them,and to examine the characteristic features of Wen Pulin’s Tibetan videos through a systematic sorting of the materials.These records and documentation of different people and cultural environments gives us a glimpse into his way of viewing and observing Tibetan video works.The third chapter returns to the question of Wen Pu lin’s relationship with Tibetan humanity,analysing the issues involved in the way Wen’s videos are viewed,the reality of humanity,the everyday landscape and the logic of narrative.The everydayness of Tibetan humanity is understood in the construction of a realistic picture and in the viewing of parallel perspectives.And the humanities and everydayness of Tibetan landscapes allow Wen to see the ordinary and the commonplace as special.Infected by Tibetan culture,an ordinary heart grows up from within Wen Pulin.Wen Pulin captures these scenes of everyday life,discovering the reality of Tibetan humanity in a parallel perspective.Wen’s video works are a record of the ordinary and everyday life of the Tibetan region,and this record are revealed in his work as a palpable object.These objects exist in a time and space,in the history of the 1990 s and in the memory of the cultural happenings in the Tibetan region.