Can Tibetan filmmakers speak more than ethnic identity? Re-imagining Tibetan New Wave beyond ethnicized reading

References

1. Adams, Vincanne (1996), ‘Karaoke as Modern Lhasa, Tibet: Western encounters with cultural politics’, Cultural Anthropology, 11:4, pp. 510–46.
   [Google Scholar]
2. Ahmad, Aijaz (1996), ‘Jameson’s rhetoric of otherness and the “National Allegory”’, Social Text, 17, pp. 3–26.
   [Google Scholar]
3. Anand, Dibyesh (2008), Geopolitical Exotica: Tibet in Western Imagination, Minneapolis, MN: University of Minnesota Press, pp. 37–64.
   [Google Scholar]
4. Barnett, Robert (2018), ‘DV-made Tibet: Domestic videos, elite films, and the work of Pema Tseden’, in Z. Zhang and A. Zito (eds), DV-Made China: Digital Subjects and Social Transformations after Independent Film, Honolulu, HI: University of Hawaii Press, pp. 119–62.
   [Google Scholar]
5. Bender, Mark (2016), ‘Ethnic minority literature’, in Y. Zhang (ed.), A Companion to Modern Chinese Literature, Chichester: Wiley Blackwell, pp. 261–75.
   [Google Scholar]
6. Berry, Chris (2016), ‘Pema Tseden and the Tibetan road movie: Space and identity beyond the “Minority Nationality Film”’, Journal of Chinese Cinemas 10:2, pp. 89–105.
   [Google Scholar]
7. Chakrabarty, Dipesh (2007), Provincializing Europe: Postcolonial Thought and Historical Difference, Princeton, NJ: Princeton University Press.
   [Google Scholar]
8. Chong, Phillipa (2011), ‘Reading difference: How race and ethnicity function as tools for critical appraisal’, Poetics, 39:1, pp. 64–84.
   [Google Scholar]
9. Chow, Rey (1995), Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema, New York: Columbia University Press.
   [Google Scholar]
10. Clark, Paul (1987), Chinese Cinema: Culture and Politics Since 1949, New York: Cambridge University Press.
    [Google Scholar]
11. Du, Qingchun [杜庆春] (2011), ‘Shaoshu minzu dianying yu xianshi biaoxian – yu wanma caidan daoyan duihua 少数民族电影与现实表现——与万玛才旦导演对话’ [Ethnic minority cinema and representation of reality – a conversation with Pema Tseden], Yishu Pinglun [艺术评论] 3, pp. 72–76.
    [Google Scholar]
12. Frangville, Vanessa (2016), ‘Pema Tseden’s The Search: The making of a minor cinema’, Journal of Chinese Cinemas, 10:2, pp. 106–19.
    [Google Scholar]
13. Gladney, Dru C. (1994), ‘Representing nationality in China: Refiguring majority/minority identities’, The Journal of Asian Studies, 53:1, pp. 92–123.
    [Google Scholar]
14. Grewal, Anup (2016), ‘Contested Tibetan landscapes in the films of Pema Tseden’, Journal of Chinese Cinemas, 10:2, pp. 135–49.
    [Google Scholar]
15. Hall, Stuart (2021), ‘New ethnicities’, in K. Mercer (ed.), Black Film, British Cinema, London: Institute of Contemporary Arts, pp. 27–31.
    [Google Scholar]
16. Hansen, Miriam (1999), ‘The mass production of the senses: Classical cinema as vernacular modernism’, Modernism/modernity, 6:2, pp. 59–77.
    [Google Scholar]
17. Hillenbrand, Margaret (2006), ‘The national allegory revisited: Writing private and public in contemporary Taiwan’, positions: asia critique, 14:3, pp. 633–62.
    [Google Scholar]
18. Jameson, Fredric (1986), ‘Third-world literature in the era of multinational capitalism’, Social Text, 15:15, pp. 65–88.
    [Google Scholar]
19. Julien, Isaac and Mercer, Kobena (1988), ‘De Margin and De Center’, Screen, 29:4, pp. 2–11.
    [Google Scholar]
20. Kaplan, E. Ann (1991), ‘Melodrama/subjectivity/ideology: The relevance of western melodrama theories to recent Chinese cinema’, East-West Film Journal, 5:1, pp. 6–27.
    [Google Scholar]
21. Larkin, Brian (2009), ‘National allegory’, Social Text, 27:3, pp. 164–68.
    [Google Scholar]
22. Li, Jie (2007), ‘From auto-ethnography to autobiography: Representations of the past in contemporary Chinese cinema’, Senses of Cinema, https://www.sensesofcinema.com/2007/feature-articles/chinese-cinema-representations-past/#20. Accessed 2 May 2024.
23. Lo, Kwai-Cheung (2009), ‘Two moments of ethnic representation in Tian Zhuangzhuang’s minority films’, Journal of Chinese Cinemas, 3:3, pp. 231–47.
    [Google Scholar]
24. Lo, Kwai-Cheung and Yeung, Jessica Wai Yee (2016), ‘Editorial’, Journal of Chinese Cinemas, 10:2, pp. 87–88, http://dx.doi.org/10.1080/17508061.2016.1167341.
    [Google Scholar]
25. Lu, Hsiao-peng (1997), Transnational Chinese Cinemas: Identity, Nationhood, Gender, Honolulu, HI: University of Hawai’i Press.
    [Google Scholar]
26. McGonegal, Julie (2005), ‘Postcolonial metacritique: Jameson, allegory and the always-already-read third world text’, Interventions, 7:2, pp. 251–65.
    [Google Scholar]
27. Mercer, Kobena (1993), ‘Dark and lovely too: Black gay men in independent film’, in M. Gever, J. Greyson and P. Parmar (eds), Queer Looks: Perspectives on Lesbian and Gay Film and Video, New York: Routledge, pp. 238–56.
    [Google Scholar]
28. Mullaney, Thomas (2010), Coming to Terms with the Nation, Berkeley, CA: University of California Press.
    [Google Scholar]
29. Nichols, Bill (2017), Introduction to Documentary, Bloomington, IN: Indiana University Press.
    [Google Scholar]
30. Pratt, Mary Louise (1992), Imperial Eyes: Travel Writing and Transculturation, New York: Routledge.
    [Google Scholar]
31. Rao, Shuguang (2011), History of Chinese Ethnic Minority Films [中国少数民族电影史], Beijing: China Film Press [中国电影出版社].
    [Google Scholar]
32. Spivak, Gayatri Chakravorty (1988), ‘Can the subaltern speak?’, in C. Nelson and L. Grossberg (eds), Marxism and the Interpretation of Culture, Urbana, IL: University of Illinois Press, pp. 271–313.
    [Google Scholar]
33. Sprinker, Michael (1993), ‘The national question: Said, Ahmad, Jameson’, Public Culture, 6:1, pp. 3–29.
    [Google Scholar]
34. Szeman, Imre (2001), ‘Who’s afraid of national allegory? Jameson, literary criticism, globalization’, South Atlantic Quarterly, 100:3, pp. 803–27.
    [Google Scholar]
35. Tsering, Chenaktshang Dorje (2008), ‘Reflections on Tibetan film’, in Robert Barnett and Ronald D. Schwartz (eds), Proceedings of the Tenth Seminar of the IATS, 2003: Volume 11: Tibetan Modernities, Leiden: Brill, pp. 267–81.
    [Google Scholar]
36. Tweedie, James (2013), The Age of New Waves: Art Cinema and the Staging of Globalization, Oxford: Oxford University Press.
    [Google Scholar]
37. Wang, Zhimin (1997), ‘The problem of defining the concept of ethnic minority films’ [少数民族电影的概念界定问题], in The Academic Workshop Anthology of the Fifth Holden Rooster and Hundred Flowers Film Festival [第五届中国金鸡百花电影节学术研讨会文集], Beijing: China Film Press [中国电影出版社].
    [Google Scholar]
38. Wang, Ban (2022), China in the World: Culture, Politics, and World Vision, Durham, NC: Duke University Press.
    [Google Scholar]
39. Yang, Bin (2009), ‘Central state, local governments, ethnic groups and the Minzu identification in Yunnan (1950s–1980s)’, Modern Asian Studies, 43:3, pp. 741–75.
    [Google Scholar]
40. Yu, Dan Smyer (2014), ‘Pema Tseden’s transnational cinema: Screening a Buddhist landscape of Tibet’, Contemporary Buddhism, 15:1, pp. 125–44.
    [Google Scholar]
41. Zhang, Yingjin (1997), ‘From “minority film” to “minority discourse”: Questions of nationhood and ethnicity in Chinese cinema’, Cinema Journal, 36:3, pp. 73–90.
    [Google Scholar]
42. Zhen, Zhang and Zito, Angela (2018), DV-Made China: Digital Subjects and Social Transformations after Independent Film, Honolulu, HI: University of Hawai’i Press.
    [Google Scholar]
43. Flaherty, Robert J. (1922), Nanook of the North, France: Revillon Frères.
    [Google Scholar]
44. Jigme Tringley (2021), One and Four, China: Himalaya Audio & Visual Culture Communication.
    [Google Scholar]
45. Lhapal Gyal (2018), Wangdrak’s Rain Boots, China: Beijing Youth Film Studio.
    [Google Scholar]
46. Lhapal Gyal (2022), The Great Distance Delivers Crane, China: Beijing Youth Film Studio.
    [Google Scholar]
47. Li, Jun (1964), Serfs, China: August 1st Film Studio.
    [Google Scholar]
48. Ling, Zifeng (1953), The Gold and Silver River Band, China: Shanghai Film Studio.
    [Google Scholar]
49. Pema Tseden (2005), The Silent Holy Stones, China: Beijing Youth Film Studio.
    [Google Scholar]
50. Pema Tseden (2009), The Search, China: Himalaya Audio & Visual Culture Communication.
    [Google Scholar]
51. Pema Tseden (2011), Old Dog, China: Himalaya Audio & Visual Culture Communication.
    [Google Scholar]
52. Pema Tseden (2015), Tharlo, Beijing, Shanghai, and Hong Kong: Heaven Pictures.
    [Google Scholar]
53. Sonthar Gyal (2011), The Sun Beaten Path, China: Himalaya Audio & Visual Culture Communication.
    [Google Scholar]
54. Sonthar Gyal (2015), River, China: Himalaya Audio & Visual Culture Communication.
    [Google Scholar]
55. Tian, Zhuangzhuang (1986), The Horse Thief, China: Xi’an Film Studio.
    [Google Scholar]
56. Wang, Lucy (2019), ‘From Cannes: director Tian Zhuangzhuang discusses Dao Ma Zei (The Horse Thief) as a Cannes classic’, The Harvard Crimson, 21 May, http://thecrimson.com/article/2019/5/21/tian-zhuangzhuang-interview/. Accessed 5 November 2024.