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| The Secret "Secret": Cinema, Ethnicity and Seventeenth Century Tibetan-Mongolian Relations | ||
| 作者 | Barnett, Robert (著) |
|---|---|
| 出處題名 | Inner Asia |
| 卷期 | v.4 n.2 Special Issue |
| 出版日期 | 2002.01 |
| 頁次 | 277 - 346 |
| 出版者 | Brill |
| 出版者網址 | http://www.brill.nl/ |
| 出版地 | Leiden, the Netherlands [萊登, 荷蘭] |
| 資料類型 | 期刊論文=Journal Article |
| 使用語言 | 英文=English |
| 附註項 | 1. Special Issue: Tibet/Mongolia Interface 2. Author Affiliation: Columbia University, US |
| 摘要 | The Secret History of the Potala Palace, a 1989 film about Mongol-Tibetan relations in the seventeenth century, was a milestone in the still tentative development of Tibetan film, with significant Tibetan participation and close attention to Tibetan sources of history. This paper suggests possible reasons for the withdrawal of the film from circulation, and proposes ways of reading film in the context of contested versions of ethnicity. The paper gives a brief survey of Tibetan film and discusses the implications of 'reverse readings' of propaganda materials in Tibet, and sees this film as an enactment of the practice by ethnic groups in China of appropriating state rhetoric as promises. It summarises the work of the Tibet Theatre Group, and of the Chinese writer and director who worked with them on the film, and discusses the political changes in Tibet during the production period and their effect on reception of the film's treatment of the Fifth Dalai Lama. The film's aim, to depict the virtues of nationality harmony, is complicated by its depiction of Mongol rulers as degenerate and by its celebration of the seventeenth century Regent Sangye Gyatso. In this the film was part of a wider 'indigenous discourse' in 1980s Tibet which sought to reconstruct the Regent as an exemplar in Tibetan history, contesting Chinese records of his rule. The film is structured around state visits and their ritual procedures, in the management of which Tibetan statesmen are portrayed as skilful, transforming desire into power and capitalising on their symbolic resources. An example of this ritual competence, a visit by the Dalai Lama to Beijing, is analysed in terms of the actors' own manipulation of historical narratives, producing an ambivalent, 'evocative' counterpoint between dynamic and static markers of status. The film-makers are shown to have stayed surprisingly close to the spirit of history, if not exactly to the record. Much of the historical sophistication of the film, and the problems it faced with the censors, can be related to the closeness of the co-operation between Chinese and Tibetan artists and technicians, which in itself marked the film as representing the emergence of Tibetan historical sensibility in the medium. Its reconstruction of the China-Tibet relationship raises difficult implications for official claims of ethnic equality, and its demonisation of the Mongols reflects the difficulty and fluidity of ethnicity-negotiation within contemporary China. |
| 目次 | ABSTRACT 277 INTRODUCTION 278 TIBETAN FILM, PROPAGANDA AND FANHUA 279 THE MAKING OF THE FILM 285 HISTORY OUTSIDE THE FILM: TIBET IN 1989 290 HISTORY OUTSIDE THE FILM: TIBET IN 1989 293 SLAVES TO PASSION: THE NOTION OF MONGOLIAN DECAY 296 MONGOL SEDUCTRESS, TIBETAN HEROES: DIS JUNCTURES 300 THE MAKING OF A NEW EXEMPLAR: SANGYE GYATSO 302 THE RITUAL CENTREPIECE 308 THE HISTORICAL RECORD 319 CONCLUSION 325 NOTES 329 NOTES TO APPENDICES 340 APPENDIX I. Tibetan-related TV films and series 341 APPENDIX II. Tibet-relaed CInema Films Produced in China 342 BOOKS AND ARTICLES CONSULTED 343 |
| ISSN | 14648172 (P); 22105018 (E) |
| DOI | https://doi.org/10.1163/146481702793647461 |
| 點閱次數 | 74 |
| 建檔日期 | 2024.06.13 |
| 更新日期 | 2024.06.25 |
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