摘要
对待少数民族电影,应承认其审美意蕴是在生成论层面中不断延伸的过程,这是一种观念的转化,在创作实践中,"视界融合"的过程必然蕴含着反思和审美心理的重塑,而反思则逐渐沉淀在电影艺术形式中,由此产生新一轮的"视界融合"。作为少数民族题材电影创作群体中的一员,万玛才旦是为数不多的藏族电影导演之一。在市场化大潮的冲击中,他以作者化的表达,对藏族当下的生存状态做了现实主义的深刻描摹。其独特的个人风格引发少数民族电影创作的思考。
The aesthetic connotation of films about ethnic minority should be recognized as the extending process of generative theory,which is a concept transformation.In practice,the process of ＂vision fusion＂ must contain the remodeling of reflection and aesthetic psychology,while reflection gradually deposits in the film art form,thus appearing the new ＂vision fusion＂.Being one of the film creators about ethnic minority,Pema Tseden is one of the few Tibetan film directors.In the tide of market impact,with the expression of author,he made a deep description of realism about Tibetan’ s survival condition.His unique personal style stimulates the creation thinking of national minority films.
作者
常慧娟
陈树超
CHANG Hui-juan CHEN Shu-chao(Shanghai Theatre Academy, Shanghai, 201102 East China Normal University, Shanghai, 200241)
出处
《吉林艺术学院学报》
2016年第4期64-68,共5页
Journal of Jilin University of Arts
