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 recognition of students No.: Decision No. 2948/2021//QD-XHNV dated December 28, 2021 of the President of the University of Social Sciences and Humanities, Vietnam National University, Hanoi
6. Changes in training process: No
7. Thesis topic: Japanese woodblock art in the cinematic language of Ozu Yasujiro
8. Major: Theory, history of cinema and television; Code: 8210232.01
9. Scientific advisor: Associate Professor, Dr. Phung Ngoc Kien, University of Social Sciences and Humanities, Vietnam National University, Hanoi
10. Summary of thesis results:
Woodblock prints (浮世絵, Ukiyo-e) are a unique genre of Japanese painting, expressing poetically and multifacetedly the ephemeral world of Edo citizens. Ukiyo-e has also left its mark and influenced other Japanese art forms, even world painting. The thesis chose to study the influence of Ukiyo-e on another art form (cinema) as a way to contribute a "voice" in studying the aesthetic interactions between art forms - a common trend in modern art. Through the research process, the thesis pointed out the influence of Ukiyo-e on the films of director Ozu Yasujiro; clarifying how he inherited, transferred and "extended" the tradition from one method to another (from visual aesthetics to audiovisual aesthetics).
Ozu's films clearly express the spirit of the ephemeral and questioning the times through the system of characters and space-time. The characters in Ozu's films are not only people of the ephemeral with daily activities, but also caught up in the new cycle of the times. Space-time in the film shows the transformation of traditional - modern landscapes, changing from communion with nature to the encroachment of closed spaces.
Ukiyo-e also influenced Ozu's cinematic language, helping him create "afterimages" to express profound "afterimages". Ozu's film staging depicted the chaos of the world; filming destroyed the conventions that existed before in cinema (and painting) with the "maximum" of static camera angles parallel to a low horizon; editing created a static continuity like placing paintings side by side.
Through that, we see that Ozu's cinematic aesthetics is Ukiyo-e aesthetics. Ozu transformed almost all the ways of expression in Ukiyo-e into his films. On the one hand, it can be seen as a return to, an extension of the traditions (ways of expression) available in his Japanese cultural flow. On the other hand, we see that the "Japanese quality" in Ozu's films originates from Ukiyo-e. Ozu used the "afterimage" obtained from all "static" expressions (similar to Ukiyo-e) to create the "afterimage", the lingering echo after each film. And the goal that Ozu aimed for was not only to return to the cultural tradition of more than 200 years that has gradually been eroded by modernization; but also to express the shift from landscape to "mindset" that is taking place strongly in Japan before the new era. It is also the pain and nostalgia for the ephemeral world that will never return.
11. Practical application:
The research results of the thesis will be the basis for analyzing the role of vision in composition, staging, editing, filming, etc. in cinematic works or visual arts.
12. Further research directions: Aesthetic exchange between art forms
13. Published works related to the thesis:
(list projects 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 Phung Ngoc Kien, 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)
