Pema Tseden and the Tibetan road movie
Space and Identity Beyond the ‘Minority Nationality Film
Bibliographic Data
| ID | 8096201 |
|---|---|
| Authors | C Berry (0000-0002-5752-3107, King's College London, corresponding author) |
| Year | 2016 |
| Volume | 10 |
| Issue | 2 |
| Pages | 89-105 |
| Publication date | 2016-04-08 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Journal of Chinese Cinemas (JOURNAL) |
| Journal identifiers | ISSN: 1750-8061 • E-ISSN: 1750-807X |
| Publisher | Routledge (PUBLISHER • GB) |
| DOI | 10.1080/17508061.2016.1167334 |
| OpenAlex | W2327087746 |
| Language | EN |
| Citations received | 12 |
| References cited | 15 |
This essay analyzes the films of Pema Tseden (པད་མ་ཚེ་བརྟན།), known in Mandarin as Wanma Caidan (万玛才旦), as road movies. The essay considers the use of the road movie genre as a response to the eclipse of the old ‘minority nationalities’ shaoshu minzu (少数民族) category of filmmaking in China, and the rise of the market economy under Chinese neoliberalism. Pema's films feature male protagonists on repeated journeys to and from certain points, or circular journeys, within the Amdo (ཨ་མདོ) region of the larger Tibetan cultural territory where Pema grew up. The ‘classic’ 1960s American road movie was considered to be a statement of alienation from American society. While remaining true to the genre's focus on interrogation of the relationship between society and self and entirely within Tibetan cultural territory and with almost no sign of Han Chinese people, Pema's films can be understood as asking how Tibetans should respond to the cultural crises brought about by modernization. Furthermore, as they circulate not only in Tibet but across China and through the international film circuit, because they do not offer ready answers, Pema's films also open up to different understandings of Tibet and being Tibetan
Aesthetics · Alienation · Art · Art history · China · Film genre · Filmmaking · Geography · Immigration · Media studies · Movie theater · Nationality · Political science · Sociology · China's Ethnic Minorities and Relations · Southeast Asian Sociopolitical Studies · Vietnamese History and Culture Studies · Gender Studies · History · Law
Reimagining Ethnic Temporality in Chinese Cinema
Boxed within the frame
Can Tibetan filmmakers speak more than ethnic identity? Re-imagining Tibetan New Wave beyond ethnicized reading
La relation de domination Han sur le peuple tibétain
Algorithmic imaginary in surveillance technicity
Re-envisioning Chinese ethnic minority films as accented cinema
Not an ‘assigned essay’
Articulating for Tibetan Experiences in the Contemporary World
Tracking on the “Edge” of Chinese Discourses
Visualising the post-2000s Inland Tibet Class generation
Sparks from the friction of terrain
Buddhist Spirituality and Disadvantaged Social Strata in the Films of Pema Tseden
| Unique citing works | 12 |
|---|---|
| Citations per year | 1,33 |
| Citation span | 2017 - 2026 (10) |
| Citation velocity | current |
| Highly cited | No |
| Citation types | Neutral: 12 |