Research On The Artistic Style Of Tibetan Films In The 40 Years Of Reform And Opening Up

As one of the important types of Ethnic Minority Films in China,Tibetan films have been blooming with unique brilliance since the "seventeen years" of Chinese films.After 70 years of wind and rain and rapid changes in China's film industry,the production of Tibetan films tends to be more mature.Especially after the reform and opening up,Tibetan culture has changed from a single mode of literary works communication to a mode of audio-visual combination of film and television works communication,and the aesthetic style of Tibetan films has gradually emerged.It is not only a true reflection of the hearts of Tibetan compatriots,but also a mapping of social changes in Tibetan areas.All the story plots and character depictions have a very strong ethnic independence The special temperament and spirit also reflect the inclusiveness and complexity of our national culture.Tibetan films,as a unique cultural product,have an impact beyond the imagination of the public.Therefore,it is not only because of personal love,but also because of the above factors that we choose to study the artistic style of Tibetan films since the reform and opening up 40 years ago.This paper is divided into six parts.The introduction part is to sort out the research status of Tibetan films at home and abroad,and to define the concept and scope of the research object.The first chapter summarizes the development process of domestic Tibetan films in the past40 years of reform and opening up.The second chapter makes a detailed analysis of the themes and contents of these films from the perspective of the theme style of Tibetan films,including the traditional heroic spirit of Tibetan,the praises of aesthetic love in Tibetan areas,the pursuit of modern life by Tibetan people and the spiritual salvation of foreign tourists in Tibetan areas.The third chapter is about the narrative style of Tibetan films in three aspects: time narrative,space narrative and narrative subject.The fourth chapter studies the language style of Tibetan films,mainly focusing on audio-visual language exploration.The last part is the conclusion,which discusses the reality of Chinese Tibetan film art style and the general direction and path of development in the future.There are three innovations in this paper: first,to sort out and summarize the developmentprocess of Tibetan films in the past 40 years of reform and opening up;second,to explore the theoretical perspective of the artistic style of Tibetan films;third,to put forward suggestions for the future development of Tibetan films.