An Exploration Of The Community Aesthetics Of Pema Tseden’s Films

Pema Tseden is one of China’s most representative ethnic minority directors and one of the few film directors who insists on using Tibetan to shoot Tibetan subjects.Most of his films are adapted from his novels,using modern techniques to tell about ethnic traditions,and showing the spiritual outlook of the ethnic group in the slow process of modernization in a state of secular life and mixed faith and culture with a speculative attitude.His story is confrontational and dialogue,and he is good at unfolding in an ethical event,implanting a deeply reflective dimension.At the same time,Pema Tseden was also the pioneer of the "Tibetan New Wavev Cinema" film movement,and he established a circle of Tibetan filmmakers with himself as the core of his creation.And it is the responsibility to lead them to create films that can achieve the fusion of tradition and innovation,local and global.In studying Pema Tsedan’s films,the author found that the author’s unique growth environment and religious context did not put the works in a special position,that is,they showed the real living conditions of the Tibetan people in the process of generation,and also conveyed a common value and emotion.This spirit of commonality is similar to the "film community aesthetics" proposed by Professor Rao Shuguang,which emphasizes that films should be more open and inclusive,and should establish a "contractual relationship" and emotional interaction relationship with the audience,and this commonality is also the key to the "spread" of Pema Tsedan’s films.Therefore,this paper will use the method of textual research and combine the relevant theories of community aesthetics to analyze the works of Pema Tsedan.Firstly,the emerging concept of "community aesthetics" is traced and explained,and the characteristics of community aesthetics in some influential minority films in recent years are summarized.Then,from broad to deep,the text mainly analyzes the common spirit,common image aesthetics,dialogue narrative and common values embodied in Pema Tsedan’s films.The first part conveys the spirit of Tibetan family community with the sense of homeland in the Wanma Tseidan film.The second part observes the image style of Pema Tsedan,and shows that The creative techniques such as balance composition,fixed long lens,and documentary narrative in his movie conform to ethnic aesthetics,coupled with his style of lens language,reflect the ideological connotation of ethnic culture,and constitutes a unique image community that belongs to Pema Tsedan.The third part mainly analyzes the "dialogue" narrative technique in Pema Tsedan’s films,from dialogue with global common value experience to returning to the fate of human beings themselves.Finally,based on the interpretation and characteristic embodiment of community aesthetic theory in Pema Tsedan’s films,the author expands and discusses the enlightenment for the future development of Chinese minority films.