Wandering Original Mind: An Interpretation of the Return of Human Nature in Pema Tseden’s Balloon

Abstract

Centered on Marx’s theory of the return of human nature, this paper conducts an in-depth interpretation of Balloon directed by Pema Tseden. Revolving around the unintended pregnancy of Zhuoga, a pastoral Tibetan woman, the film depicts how her authentic personality suffers spiritual fragmentation and human alienation under external forces including the religious concept of reincarnation, patriarchal oppression, ideological constraints and policy intervention. Through the core symbolic image of the balloon, handheld cinematography and compositional language, this paper analyzes the inner torment endured by the female protagonist in the process of alienation. Drawing on the theory of the return of human nature and feminism, it elaborates on the survival and reproductive dilemmas faced by ethnic minority women. Meanwhile, a textual analysis of the cinematic language reveals that cultural imbalance in the film obstructs the return of human nature, making it difficult for individuals to achieve a fulfilling spiritual pursuit. By reflecting on the predicament of an individual woman, director Pema Tseden contemplates the spiritual wandering of indigenous ethnic groups amid the advancement of modernization. This film serves as a typical case for the visual research of Tibetan New Wave cinema.