巴赫曼·戈巴迪是一位来自伊朗的库尔德族电影导演。2000年，戈巴迪凭借处女长片《醉马时刻》荣获第 53 届戛纳电影节金摄影机奖，此后这位年轻导演接连创作出《栗色伊拉克》《乌龟也飞》《半月交响曲》《无人知晓的波斯猫》和《犀牛季节》等佳作，在各大国际电影节收获如潮好评。作为 21 世纪初伊朗影坛的后起之秀，巴赫曼·戈巴迪受到国际范围的关注和赞誉。作为库尔德族的一员，戈巴迪的电影创作始终高度关注的是库尔德人的生命体验和生存困境，始终讲述的是有关库尔德同胞的故事，始终书写的库尔德人的民族品性和民族境遇。在过往研究中，戈巴迪只是作为伊朗第四代导演的代表人物“登场”，他的民族身份和民族意识表达更多作为伊朗电影研究的注脚和点缀。本文选取巴赫曼·戈巴迪的六部电影长片，放置于库尔德族的视野和维度下进行细致考察，深入结合库尔德族的历史脉络、文化源流和现实命运，探寻导演巴赫曼·戈巴迪电影作品的民族性呈现和民族意识表达。本文的正文部分分为四个章节。第一章是对库尔德族、库尔德电影史和导演巴赫曼·戈巴迪的电影创作进行梳理和论述，为后三章的分析做好铺垫。第二章从戈巴迪电影的民族性表意元素入手，通过民族景观的呈现、库尔德人的跨境旅行、超现实主义意象等三个方面，分析戈巴迪是如何将库尔德人的现实存在呈现在大银幕上的。第三章从创作主题方面对戈巴迪电影作品进行分析，以“寻找”母题、“死亡”命题和战乱控诉三个角度切入，考察研究戈巴迪在创作主题上的承继与创新。第四章对戈巴迪的民族文化和身份意识表达进行更深入的探寻，本文认为戈巴迪通过儿童和女性这两种边缘群体的形象建构，形成苦难民族的象征，库尔德人通过音乐诗歌等民族文化实现身份认同和文化归属。

Bahman Ghobadi is an Iranian-born Kurdish film director. In 2000, Ghobadi won The Gold Camera Award at the 53rd Cannes Film Festival with his maiden work A Time for Drunken Horses.since then, this young director successfully created other masterpieces like Marooned in Iraq, Turtles Can Fly,  Half Moon, No One Knows About Persian Cats and Rhino Season, which has been well received in major international film festivals. As a rising star of the Iranian film circles in the early 21st century, Bahman Ghobadi has attached international attention and appreciation. As a member of the Kurdish ethnic group, Ghobadi has always payed high attention to the life experience and survival dilemma of the Kurds,  always told the stories about the Kurdish compatriots and always written the national character and national situation of the Kurds in his film creation. In previous studies,  Ghobadi appeared as a representative of the fourth generation of Iranian directors,  and his national identity and his expression of national consciousness were more as footnotes and ornaments in Iranian film studies. This thesis selects six films of Bahman Ghobadi,which would be placed in kurdish vision and dimension for detailed inspection,and makes a thorough combination of the historical context,cultural source and realistic destiny of kurdish nation to explore the national presence and the expression of national awareness in Ghobadi’s works. The main body of this thesis is divided into four chapters. The first chapter combs and discusses the Kurdish nationality,the history of Kurdish film and the film creation of director Bahman Ghobadi,which lays the foundation for the analysis of the next three chapters.The second chapter starts with the national ideographic elements in Ghbadi's films, and analyzes how Ghobadi presents the realistic existence of Kurds on the big screen through the presentation of national landscape, the cross-border travel of Kurds, and the surrealistic imagery. In order to analyze Ghobadi's film works from the perspective of themes, the third chapter chooses the motif of “seeking”, the proposition of “death”and the accusation of war, to investigate Ghobadi's inheritance and innovation of themes. The fourth chapter makes a thorough exploration on Ghobadi's expression of national culture and identity consciousness.This thesis holds the view that Ghobadi forms the symbol of the suffering nation through the image construction of children and women——the two marginalized groups,and the Kurdish people realize their identity and cultural belonging through music and poetry and some other national cultures.