摘要
讲述藏文化寓言是万玛才旦的创作自觉和习惯,现代与传统的二元对立是他的寓言体藏文化叙事的常规主题。《气球》的核心戏剧冲突是在藏文化的特定文化空间里,现代/科学与传统/宗教两种知识与文化权威的对比和较量,女主角卓嘎的身体成为了双方较量的战场。而传统文化中的父权体系,从根本上消解了《气球》的女性主义意义建构。最终,现代理性难以真正进入影片的文化叙事,而关于现代与传统的思辨只导向一种闭合性文化叙事。
Telling Tibetan cultural allegory is Pema Tseden’s creative self-consciousness and habit. Modern and tradition is the routine theme of his allegoric cultural narrative. The core dramatic conflict of his resent film Balloon is the comparison and contesting between science and religion in the specific Tibetan cultural space, so that the body of female protagonist becomes the battle field of the two thought systems. The patriarchy rooted in the traditional culture dispels fundamentally the feminist construction in Bal oon. Eventually, modern reason hardly go deep into the cultural narrative of the film, and the introspection concerning the modern and tradition only leads to a kind of closed cultural narrative.
出处
《电影艺术》
CSSCI
北大核心
2021年第1期61-63,共3页
Film Art
关键词
《气球》
寓言
闭合性文化叙事
藏语电影
Balloon
allegory
closed cultural narrative
Tibetan-language film
