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Pema Tseden and the Tibetan Road Movie: Space and Identity beyond the ‘Minority Nationality Film’

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Pema Tseden and the Tibetan Road Movie : Space and Identity beyond the ‘Minority Nationality Film’ . / Berry, Chris.

In: Journal of Chinese Cinemas, Vol. 10, 2016, p. 89-105.

Research output: Contribution to journalArticlepeer-review

Harvard

Berry, C 2016, 'Pema Tseden and the Tibetan Road Movie: Space and Identity beyond the ‘Minority Nationality Film’ ', Journal of Chinese Cinemas, vol. 10, pp. 89-105. https://doi.org/10.1080/17508061.2016.1167334

APA

Berry, C. (2016). Pema Tseden and the Tibetan Road Movie: Space and Identity beyond the ‘Minority Nationality Film’ . Journal of Chinese Cinemas, 10, 89-105. https://doi.org/10.1080/17508061.2016.1167334

Vancouver

Berry C. Pema Tseden and the Tibetan Road Movie: Space and Identity beyond the ‘Minority Nationality Film’ . Journal of Chinese Cinemas. 2016;10:89-105. https://doi.org/10.1080/17508061.2016.1167334

Author

Berry, Chris. / Pema Tseden and the Tibetan Road Movie : Space and Identity beyond the ‘Minority Nationality Film’ . In: Journal of Chinese Cinemas. 2016 ; Vol. 10. pp. 89-105.

Bibtex Download

@article{6e2e20dd34de47ee993d52bacdf2532c,
title = "Pema Tseden and the Tibetan Road Movie: Space and Identity beyond the {\textquoteleft}Minority Nationality Film{\textquoteright} ",
abstract = "This essay analyses 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 {\textquoteleft}minority nationalities{\textquoteright} shaoshu minzu (少数民族) category of filmmaking in China, and the rise of the market economy under Chinese neoliberalism. Pema{\textquoteright}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 {\textquoteleft}classic{\textquoteright} 1960s American road movie was considered to be a statement of alienation from American society. While remaining true to the genre{\textquoteright}s focus on interrogation of the relationship between society and self and et entirely within Tibetan cultural territory and with almost no sign of Han Chinese people, Pema{\textquoteright}s films can be understood as asking how Tibetans should respond to the cultural crises brought about by modernisation. 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{\textquoteright}s films also open up to different understandings of Tibet and being Tibetan. ",
keywords = "Pema Tseden, Wanma Caidan, Tibet, road movie, identity, minority nationalities, ethnicity.",
author = "Chris Berry",
year = "2016",
doi = "10.1080/17508061.2016.1167334",
language = "English",
volume = "10",
pages = "89--105",
journal = "Journal of Chinese Cinemas",
issn = "1750-8061",
publisher = "Taylor and Francis Ltd.",

}

RIS (suitable for import to EndNote) Download

TY - JOUR

T1 - Pema Tseden and the Tibetan Road Movie

T2 - Space and Identity beyond the ‘Minority Nationality Film’

AU - Berry, Chris

PY - 2016

Y1 - 2016

N2 - This essay analyses 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 et 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 modernisation. 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.

AB - This essay analyses 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 et 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 modernisation. 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.

KW - Pema Tseden, Wanma Caidan, Tibet, road movie, identity, minority nationalities, ethnicity.

U2 - 10.1080/17508061.2016.1167334

DO - 10.1080/17508061.2016.1167334

M3 - Article

VL - 10

SP - 89

EP - 105

JO - Journal of Chinese Cinemas

JF - Journal of Chinese Cinemas

SN - 1750-8061

ER -

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