An Analysis of Female Images in Tibetan New Wave Cinema

DOI

10.2991/978-2-38476-511-9_114How to use a DOI?

Keywords

female representation; Tibetan New Wave Cinema; cultural identity

Abstract

Tibetan New Wave cinema, through its distinct cultural consciousness, reshapes the modernity of Tibetan society. The evolution of female images serves as a key symbol for decoding the tensions inherent in this cultural modernity. This paper examines five representative films—Tharlo, Ala Changso, Wangdrak’s Rain Boots, Balloon, and Jinpa—as case studies. Based on how female characters respond to traditional discipline and modern demands, a typology of three female image archetypes is constructed: the submissive, the resistant, and the reconciling. This transformation of female imagery not only vividly reflects the fragmentation within Tibetan socio-cultural structures but also broadens the dimensions of gender representation in Chinese ethnic minority cinema.

Copyright

© 2025 The Author(s)

Open Access

Open Access This chapter is licensed under the terms of the Creative Commons Attribution-NonCommercial 4.0 International License (http://creativecommons.org/licenses/by-nc/4.0/), which permits any noncommercial use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license and indicate if changes were made.

Download article (PDF)

TY  - CONF
AU  - Rui Zhou
PY  - 2025
DA  - 2025/12/31
TI  - An Analysis of Female Images in Tibetan New Wave Cinema
BT  - Proceedings of the 7th International Conference on Literature, Art and Human Development (ICLAHD 2025)
PB  - Atlantis Press
SP  - 975
EP  - 983
SN  - 2352-5398
UR  - https://doi.org/10.2991/978-2-38476-511-9_114
DO  - 10.2991/978-2-38476-511-9_114
ID  - Zhou2025
ER  -