Cookies Policy

This site uses cookies. By continuing to browse the site you are agreeing to our use of cookies.

I accept this policy

Find out more here

Tsogt Taij and the Disappearance of the Overlord: Triangular Relations in Three Inner Asian Films

No metrics data to plot.
The attempt to load metrics for this article has failed.
The attempt to plot a graph for these metrics has failed.
The full text of this article is not currently available.

Brill’s MyBook program is exclusively available on BrillOnline Books and Journals. Students and scholars affiliated with an institution that has purchased a Brill E-Book on the BrillOnline platform automatically have access to the MyBook option for the title(s) acquired by the Library. Brill MyBook is a print-on-demand paperback copy which is sold at a favorably uniform low price.

Access this article

+ Tax (if applicable)
Add to Favorites
You must be logged in to use this functionality

image of Inner Asia

Three major history films were produced in Mongolia and Tibet in the socialist era that dealt with the role of earlier Chinese dynasties in those areas. Two of the films – Tsogt Taij (1945) and Budala gong mishi (1989) – portray events in Tibet in the seventeenth century and include portrayals of the Fifth Dalai Lama and the Mongolian leader, Gushri Khan. The third film, Mandukhai setsen khatun (1989), deals with fifteenth century history in Mongolia and the effort to maintain national unity. The three films were produced during brief periods of relative relaxation in socialist ideology, and each reflected the considerable influence of local historians and intellectuals in the views they presented of local history, producing epic accounts of nationalist heroes or heroines and of their efforts to defend or build up the nation or nationality against powerful foreign enemies. The films seem to have been understood locally at the time or later as criticising a colonising power or occupier, but in fact the stories of each film focus on internal or neighbouring enemies who from an outside perspective appear less significant. The paper discusses the relative absence of the external enemy from these films and analyses the forms of emotional characterisation used to mark the different ethnic and political groups portrayed in the films. This analysis suggests that views held by subaltern communities towards other dominated groups or minorities, often dismissed as forms of erroneous displacement, deserve serious consideration as reflections of complex, emic understandings of political relations and priorities in colonial- type conditions.


Full text loading...


Data & Media loading...

Article metrics loading...



Can't access your account?
  • Tools

  • Add to Favorites
  • Printable version
  • Email this page
  • Subscribe to ToC alert
  • Get permissions
  • Recommend to your library

    You must fill out fields marked with: *

    Librarian details
    Your details
    Why are you recommending this title?
    Select reason:
    Inner Asia — Recommend this title to your library
  • Export citations
  • Key

  • Full access
  • Open Access
  • Partial/No accessInformation