Modernity in comparison : the novel transformation of imagination and identity in 21st-century Chinese ethnic minority films = 比較中的現代性 : 二十世紀中國少數民族電影中的想象與認同新變

Abstract

In the new century, Chinese ethnic minority films have been exhibiting new characteristics, undergoing significant transformations under the influence of modernity, including globalization, technological advancements, and the evolution of aesthetic theory. These changes are primarily manifested in three areas: the reconstruction of subjectivity, the enhancement of cinematic expressiveness, and the preservation of the traditional spatiotemporal view. This thesis explores these themes in the context of Mongolian, Tibetan, and Miao films.

In terms of thematic selection, Mongolian films in the new century have shifted from grand historical narratives to individual storytelling, while simultaneously embracing themes of universal and shared human values. The representation of subjectivity in these films emphasizes the distinction between self and other, particularly through the creation of complex characters that challenge Orientalist stereotypes. Material symbols have undergone connotation shifts, with an expansion of signifiers that facilitate the precise and rapid identification of Mongolian subjectivity. When depicting intangible cultural heritage, these films adopt an internal perspective, thereby restoring the subject status of ethnic groups and reducing the sense of being observed.

Tibetan films in the 21st century, exemplified by the works of Pema Tseden, explore the spiritual conditions and existential dilemmas of ethnic minorities as universal human experiences within modernity. The artistic expression in Tibetan films has evolved from realism to formalism, and from documentary to allegorical modes of representation. This transformation is characterized by features such as narrative discontinuity, surreal imagery, and allegorical storytelling. The films employ sophisticated techniques including magical sound design and complex montage. The camera movement has become more dynamic and intricate, while maintaining a deep integration with religious themes and addressing contemporary issues within the framework of modernity.

In Miao ethnic films of the new century, the traditional cyclical conception of time predominates over modern linear temporality, surpassing the causal law of time. The films accentuate the spatial distinctiveness of Miao villages, emphasizing geographical and cultural boundaries. Space becomes both a stage for historical narrative and a carrier of collective memory.

These transformations emerge from the interaction between modernity and ethnic minority films. Modernity has necessitated the reassertion of subjectivity, which ethnic minority films achieve through the reconstruction of ethnic identity, thereby challenging both Orientalist and self-Orientalizing discourses. A major impact of the development of modernity in the field of film is the enhancement of expressiveness. The pursuit of truth by ethnic minority mother tongues, original ecology, and allegorization is the reflection of aesthetic modernity, that is, the criticism of modernity by ethnic minority films. Furthermore, films play a role in preserving and disseminating values, introducing traditional conceptions of time and space into contemporary discourse. They challenge the hegemony of linear temporality with cyclical time and restore marginalized space to positions of significance.

In conclusion, the transformation of Chinese ethnic minority films in the 21st century, within the context of modernity, profoundly reflects issues of cultural discourse power and opens multiple avenues for exploring cultural diversity in the processes of localization and modernization.