As a unique and comprehensive art discipline, the film bears not only a silent dialogue between film and audience but also a cultural exchange between countries and nations and between peoples."In the film, then, we can see not only the developmental trajectory of each ethnic group but also sense historical accumulation across different regions and ethnicities.Regardless of the ethnic minority literary varieties rooted in a specific humanist socialist soil, it is also inevitable that their manifested literary forms represent the strong socialist social and humanist atmosphere of this region.In recent years, especially since the new era, the development of ethnic film and cultural enterprises as well as the cultural industries is an unavoidable necessity to meet the growing demand of the general public for a better life, and Tibetan cinematic art will also be increasingly entering the public eye.Following the nineteen National Congress, the construction of socialist culture with Chinese features in the new era has entered a critical period of development, and the establishment of cultural trust is an unavoidable requirement.With the new era of Chinese Tibetan films after 2012 being the primary topic of study, the aim of this paper is to explore different levels of Tibetan film aesthetics, so as to construct a comprehensive aesthetic system and then to more effectively capture the aesthetic features of Tibetan films, expand the diverse development path, and promote the diffusion of Tibetan culture to the public.
Wang et al. (2024) studied this question.