Wanmacaidan, a Tibetan director as seen above, shows the present situation of Tibet and anxiety about the future in the movie where the lines are delivered in pure Tibetan to the allowable maximum extent under the present Tibetan actuality.
This is what he is executing ‘a travel to the inside’, which Edward Side mentioned is making a secondary detour resistance to the China with ‘reconstruction of culture’.
In 〈the Grassland〉 the son at last confessed that he stole the yak, however, returning to the scene of primitive human society, activity of stealing yak does not materialize. Considering the community sharing the meat of yak, all of us constituting a stealing activity, recall that we are bound to commit crimes in the civilization. In 〈Silent Buddhist stone scriptures〉 the scene, where a boy lama in his growing is enjoying a Chinese novel which includes Buddhist fables, employing as a symbolizing paragraph indicating the future of the boy lama who should understand the Chinese Buddhism as an important vein and agonize what the relationship with the China would be. It is hence found that the future relationship between the Tibet and the China, the correlation and the difference between the two countries, political options connected to the Tibetan future must be linked to the episodes in the movie. 〈Searching Zhimeigengdeng〉 is a stoy about what looking for an actor for cinematization of a traditonal play called 〈Zhimeigengdeng〉, here the story itself shows succession and re-creative activities of the tradition are continuing.
It is an eloquence that the Tibetan traditional culture will survive, prevail in Tibetan people through its reproducing and inspire them. In his movie, not only Chinese is unseen, but none of the discourses linked to the Tibetan actuality under the Chinese control are mentioned. In the movie, the Tibet is neither more nor less than the Tibet itself and the Tibet remains exclusive of present troubles. In other words, the fact that the director paradoxically is eliminating the situation of Chinese domination on purpose is establishing an intention of embodying Tibet.
However, these movies do not openly expose their political meaning to exclude China. As he says plainly Tibet is where Tibetan live, Tibetan story tells, Tibetan life matters and it is natural there were no room for Chinese.
‘The secondary resistance’ through reconstruction of culture which Edward mentioned and Wanmachaidan’s movie strategy here accord with each other. The core of Tibet culture, Buddhist spirit and their lives, shown in the movie, are demanding the cultural restoring and returning from Chinese imperial governance. The presence and presentation of the movie will work as a resistance in spite of Chinese brutal political suppression and physical coercion, Otherwise, we can say it is a natural restoration of Tibetan original culture.