1. Student's full name: TRIEU MINH HAI 2. Gender: Male
3. Date of birth: February 24, 1982
4. Place of birth: Hanoi
5. Decision on student admission: Decision No. 2948/2021/QD-XHNV dated December 28, 2021, of the Rector of the University of Social Sciences and Humanities, Vietnam National University, Hanoi.
6. Changes in the training process: None
7. Thesis Title: Japanese Woodblock Prints in the Cinematic Language of Ozu Yasujiro
8. Major: Theory and history of film and television; Code: 8210232.01
9. Scientific supervisor: Assoc. Prof. Dr. Phung Ngoc Kien, Faculty of Social Sciences and Humanities, Vietnam National University, Hanoi
10. Summary of the thesis results:
Ukiyo-e (浮世絵) is a unique genre of Japanese painting, poetically and multifacetedly depicting the ephemeral world of Edo townspeople. Ukiyo-e has also left its mark and influenced other Japanese art forms, and even world painting. This thesis chooses to study the influence of Ukiyo-e on another art form (cinema) as a way to contribute a "voice" to the study of aesthetic interactions between art forms – a common trend in modern art. Through the research process, the thesis points out the influence of Ukiyo-e on the films of director Ozu Yasujiro; clarifying how he inherited, transitioned, and extended the tradition from one method to another (from visual aesthetics to auditory aesthetics).
Ozu's films clearly express the spirit of transience and inquiry into the times through their characters and space-time system. The characters in Ozu's films are not merely transient individuals engaged in everyday life, but are also swept into the new cycle of the era. Space-time in his films reflects the transformation of traditional and modern landscapes, shifting from communion with nature to the encroachment of enclosed spaces.
Ukiyo-e also influenced Ozu's cinematic language, helping him create "afterimages" to express profound "lingering emotions." Ozu's film staging depicted the fleeting complexities of the world; his cinematography dismantled pre-existing conventions in film (and painting) with the "principle" of static camera angles parallel to the low horizon; and his editing created a static continuity, like arranging paintings side-by-side.
Thus, we see that Ozu's cinematic aesthetics are essentially those of Ukiyo-e. Ozu transformed almost the entire style of expression found in Ukiyo-e into his films. On one hand, this can be seen as a return to and extension of existing traditions (styles of expression) within the Japanese cultural landscape. On the other hand, we see that the "Japanese essence" in Ozu's films originates from Ukiyo-e. Ozu used the "afterimages" derived from all the "static" expressions (similar to Ukiyo-e) to create the "lingering emotion," the lingering resonance after each film. And Ozu's goal was not only to rediscover the cultural traditions of over 200 years that had gradually eroded due to modernization, but also to express the powerful shift in Japan's landscape and "mental state" in the face of a new era. It also reflects a deep longing and nostalgia for a fleeting world that, once gone, can never return.
11. Practical applications:
The research findings of this thesis will serve as a basis for analyzing the role of vision in composition, staging, editing, cinematography, etc., in cinematic or visual art works.
12. Future research directions: The aesthetic intersection between different art forms
13. Published works related to the thesis:
(List the works in chronological order if available)
INFORMATION ON MASTER'S THESIS
1. Full name: TRIEU MINH HAI 2. Sex: Male
3. Date of birth: 24/02/1982
4. Place of birth: Hanoi
5. Admission decision number: No 2948/2021/QD-XHNV Dated December 28, 2021
6. Changes in academic process: None
7. Official thesis title:: Japanese woodblock art in cinematic language by Ozu Yasujiro
8. Major: Film and Television Studies
9. Code: 8210232.01
10. Supervisor: Associate Professor, Doctor Phùng Ngọc Kiên, VNU University of Social Sciences and Humanities (Hanoi)
11. Summary of the findings of the thesis:
Woodblock painting (浮世絵, Ukiyo-e) is a unique genre of Japanese painting, poetically and multi-faceted about the opulent realm of the Edo townsfolk. Ukiyo-e has also left its mark, involving other Japanese art forms, and even world painting. The thesis chooses to study the influence of Ukiyo-e on other art forms (cinema) as well as a way to contribute a "voice" in the study of the aesthetic interactions between art forms - a trend. commonly found in modern art. Through the research process, the thesis has shown the influence of Ukiyo-e on the films of director Ozu Yasujiro; clarifies how he inherits, transitions and "extends" the tradition from one mode to another (from visual to audiovisual).
Ozu's films clearly show the spirit of supremacy and query the times through the character system and space-time. The character in the movie Ozu is not only a person suitable for everyday life, but also caught up in the new spin of the times. Space - time in the film shows the transformation of the traditional - modern landscape, changing from sympathy with nature to the invasion of enclosed spaces.
Ukiyo-e also influenced Ozu's cinematic language, helping him create "afterimages" to express his deep "afterglow". The scene in the movie Ozu depicts the chaos; filming to debunk pre-existing conventions in cinema (and painting) with the “motto” of low-horizon-parallel static camera angles; Editing creates a static sequence like stacking pictures side by side.
Thereby, we see that the Ozu cinematic aesthetic is the Ukiyo-e aesthetic. Ozu transformed almost all of the expressions in Ukiyo-e into his film. On the one hand, it can be seen as a search for and prolongation of the existing traditions (expressions) in the flow of his Japanese culture. On the other hand, we see that the "Japanese quality" in the movie Ozu comes from Ukiyo-e. Ozu uses the "afterimages" obtained from all "sedentary" expressions (similar to Ukiyo-e) to create the "afterglow", which is left over after each film. And Ozu's goal is not only to find out more than 200 years of cultural traditions that have been gradually eroded by modernization; but also to show the shift from landscape to "mood" that was taking place strongly in Japan before the new era. It is also the pain, the nostalgia for the fleeting world that can't come back.
12. Practical applicability, if any:
The research results of the thesis will be the basis for analyzing the role of vision in composition, setting, editing, filming, etc. in cinematic or visual art works.
13. Further research directions, if any: Aesthetic interference between art forms
14. Thesis-related publications: ..........................................................................................
(List them in chronological order)
