Pema Tseden Film Space Narrative Research

Pema Tseden is one of the few Tibetan directors in China at present.His film work of The Silent Holy Stones attracted wide attention of the industry and audience with pure Tibetan dialogue and strong documentary style when it was released in 2005.He also created excellent Tibetan theme films,including The Search,Old Dog,The Sacred Arrow,Tharlo and so on,in the following years.The new work Jinpa directed by him in 2019 perfectly combines art with commerce,which gives a new interpretation of Tibetan religious beliefs in a fantastic and suspenseful style.This paper takes the feature film which has been shown directed by Pema Tseden as the research text and is based on the theory of spatial narratology,aiming at explaining how Pema Tseden used space to construct the narrative of films by studying the spatial narrative images,spatial narrative techniques and spatial narrative structure in Pema Tseden's films.This paper consists of four chapters.In the first chapter,the theoretical basis and research status of this paper are summarized.First of all,this chapter clarifies the difference and relationship between the two by defining the concept of space narrative and narrative space in films on the basis of previous theoretical foundations.In addition,this chapter puts forward the research content,research methods and research significance of this paper by combing the research status of Tibetan theme films and the research status of Pema Tseden's films.In the second chapter,the spatial narrative images in Pema Tseden's films,such as street space,bar space,house space and temple space,are selected to explore how space reproduced the social changes and the changes of Tibetan people's lives in the process of urbanization in Pema Tseden's films and tries to analyze the impact of this change on Tibetan psychology from three perspectives: spatial presentation,aesthetic characteristics and cultural significance.In the third chapter,from the perspective of space shaping,it explains how Pema Tseden used space to structure the plot of films and used the details of the inner space in which the characters live to shape the characters' images and represent the relationship between them by analyzing the space combination,space details and space symbols in Pema Tseden's movies.In addition,from the perspective of culturology,this chapter elaborates how Pema Tsedenused the cultural symbols in space to metaphorize the narrative theme of films.In the fourth chapter,from the point of view of narrative structure,it explores the effect of space on the formation of narrative structure in Pema Tseden's films from the linear causal narrative structure,interwoven contrastive structure and dreamlike polyphony structure.In view of the above research,this paper argues that Pema Tseden has a very strong sense of space in the creation of film works.Pema Tseden observed the living conditions of the Tibetan people from the perspective of the Tibetans and presented the geographical,social and cultural space of the Tibetan region in a documentary style.At the same time,by consciously choosing,shaping and presenting Tibetan space,he revealed the rapid changes taking place in Tibetan areas in the process of urbanization,which reflected the difficult choices Tibetans faced in the conflicts between tradition and modern times.In addition,Pema Tseden established a film narrative with time as the dominant and space as the structure in space,which not only highlighted the aesthetic style of documentary but also did not lose its poetic flavor.