In contrast to the West where the divide between the secular and the religious is generally perceived as distinct and impermeable, in the Tibetan Buddhist culture, religion is at the root of all political and social formations. The current scholarship in world cinema has shown the importance of situating a particular cinema---whether it is national, transnational or exilic---within a social, political and cultural context. Yet this scholarship subsumes religion under the broad umbrella of culture, effectively limiting what could potentially be a thorough exploration of the representation and place of religion in films.;This thesis explores the centrality and multidimensional features of Buddhism by means of a close textual analysis of four films about Tibetan culture---The Cup (Phorpa, Khyentse Norbu, India, 1999), Travellers and Magicians (Khyentse Norbu, Bhutan, 2005) Milarepa: Magician, Murderer, Saint (Neten Chokling, Bhutan, 2006), and Kundun (Martin Scorsese, USA, 1997). It argues that a Buddhist ethos forms the core of these films and informs how the language of cinema is used to convey Buddhist themes and principles.
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机译:与西方通常认为世俗和宗教之间的鸿沟是明显且不可渗透的西方相比,在藏传佛教文化中,宗教是所有政治和社会形态的根源。当前在世界电影院中获得的奖学金表明,在社会,政治和文化背景下,定位特定的电影院(无论是国家电影院,跨国电影院还是流亡电影院)的重要性。然而,这项奖学金将宗教归入文化的广泛保护之下,有效地限制了可能对电影中宗教的表现形式和地位进行彻底探索的途径。本文通过对佛教的紧密文本分析来探讨佛教的中心性和多维特征。四部关于藏族文化的电影-杯子(印度帕尔帕(Phopa),钦哲·诺布(Khyentse Norbu),1999年),旅行者和魔术师(Travelers and Magicians)(凯恩斯·诺布(Khyentse Norbu),不丹(2005)),密勒日帕(Magarepa):魔术师,谋杀者,圣人(内坦·霍克林(Neten Chokling),不丹(2006))和昆敦(Kundun) (美国Martin Scorsese,1997年)。它认为佛教精神构成了这些电影的核心,并告知电影语言是如何用来传达佛教主题和原则的。
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