本文選題：塔洛 + 智美更登��； 參考：《藝術(shù)評(píng)論》2017年06期

【摘要】：正《塔洛》(2016)是萬(wàn)瑪才旦號(hào)憤的第五部影片,該片以黑白影像、風(fēng)格強(qiáng)烈的鏡頭語(yǔ)言、簡(jiǎn)浩的敘事等引起廣泛關(guān)注。萬(wàn)瑪才旦的前四部作品《靜靜的嘛呢石》(2006)、《尋找智美更登》(2009)、《老狗》(2011)和《五彩神箭》(2014)為我們講述了民族特色鮮明的藏區(qū)故事,顯示了他對(duì)藏族文化的獨(dú)特認(rèn)知與細(xì)膩感觸�！端濉芬环矫嫜永m(xù)了導(dǎo)演一貫的反思民族文化、建構(gòu)自我身份的主題,另一方面又顯示了萬(wàn)瑪才旦與中國(guó)主流電影界對(duì)話的嘗試。
[Abstract]:"Tarot" 2016) is the fifth film of Wamacaidan's indignation, which has attracted widespread attention with black and white images, strong camera language, and Jane Ho's narration.The first four works of Wan Ma Caidan, "quiet Stone", "Stone" 2006, "looking for the Chi Mei Geng Deng" (2009), "the Old Dog" (2011) and "Wucai Shenjian" (2014), tell us the story of the Tibetan area with distinctive national characteristics.It shows his unique cognition and delicate feeling to Tibetan culture. On the one hand, Tallo continues the director's theme of reflecting on national culture and constructing his own identity, on the other hand, it shows Wan Ma Caidan's attempt of dialogue with the mainstream Chinese film industry.
【作者單位】： 中國(guó)人民大學(xué)文學(xué)院;
【分類(lèi)號(hào)】：J905
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本文編號(hào)：1761973