Film Research On "Tibetan New Wave" From The Perspective Of Film And Television Anthropology

In the development of Chinese minority films,Tibetan films have always been an existence that can not be ignored.On the one hand,the geographical environment of Tibet is extremely special.High altitude,low oxygen and many mountains limit a large number of people to go to Tibet personally and feel the authentic face of Tibet;On the other hand,Tibet has a very unique folk culture,showing distinctive Tibetan characteristics in material folk customs,social folk customs,belief folk customs and entertainment folk customs.Therefore,for a long time,the images of Tibet have naturally become the medium for people to imagine the landscape and culture of Tibet.Since the birth of the first Tibetan film The Gold and Silver River Band in1953,there have been more than 40 Tibetan films in the next 50 years.To a certain extent,they have filled the gap in people’s cognition of Tibet and provided some image support for people’s imagination of Tibetan landscape and culture.However,almost all Tibetan films in this period were directed and filmed by people of other ethnic groups.This "external perspective" made the Tibetan landscape and culture more or less in the phantom.The first feature film The Silent Holy Stones directed by Pema Tseden in 2005 was an important turning point of Tibetan films.Since then,a large number of Tibetan directors,artists,photographers,sound recorders and other filmmakers have appeared like bamboo shoots after a rain.As the founders and holders of their own ethnic culture,these Tibetan filmmakers observe,reflect and reflect on everything about their own ethnic group from an "internal perspective",and effectively realize the "disenchantment" of the Tibetan landscape and culture.Therefore,in order to distinguish from the Tibetan films under the previous "external perspective",these Tibetan films directed and filmed by Tibetan directors have been dubbed the "Tibetan New Wave" by academia and industry.This paper takes the "Tibetan New Wave" film as the research object,takes "film and television anthropology" as the theoretical cornerstone,comprehensively defines and combs the concept and development context of the "Tibetan New Wave" film,and makes a systematic and in-depth analysis and interpretation of the artistic and anthropological characteristics of the "Tibetan new wave" film.At the same time,based on the current situation of the "Tibetan New Wave" film,combined with relevant data and cases,this paper makes reasonable thoughts and suggestions on the development path of the "Tibetan New Wave" film.In order to make a modest contribution to the image practice of the "Tibetan New Wave" and the benign development of the industry.This paper is mainly divided into four chapters.The first chapter combs the development of film and television anthropology at home and abroad.At the same time,it further defines the definition of the "Tibetan New Wave" film in comparison with Tibetan films before 2005,and combs the development context of the "Tibetan New Wave" film into three periods,taking the "Tibetan New wave" film as the research text,summarize the different creative style of the "Tibetan New Wave" film in each stage.The second chapter focuses on the artistic characteristics of the "Tibetan New Wave" film,combined with the image text,summarizes its clear and highly recognizable group style in three aspects:theme implication,characterization and narrative strategy.The third chapter takes "film and television anthropology" as the theoretical basis,explains the anthropological characteristics of the "Tibetan New Wave" film from the perspective of image empowerment,ethnic identity and globalization,and then discusses the internal relationship between Tibetan culture and geographical environment,natural climate and religious belief,and praises the Tibetan people for goodwill,tolerance,freedom Courage is the yearning for human truth and spiritual power.The fourth chapter is based on the embarrassing situation that the "Tibetan New Wave" film has been cold in the market in recent years("morning" "night" "one-day tour" and "one-week Tour"),combined with relevant cases and data,finds out the symptoms of the cold in the market,and tries to put forward reasonable suggestions to contribute to the sound development of the "Tibetan New Wave" film industry.