1. Student's full name: TRAN THI HAI YEN 2. Gender: Female
3. Date of birth: May 5, 1983
4. Place of birth: Quang Ninh
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: Creativity in a transitional situation: the case of Le Hoang's films in the late 20th and early 21st centuries
8. Major: Theory, history of cinema and television; Code: 8210232.01
9. Scientific advisor: Associate Professor, Dr. Pham Xuan Thach, University of Social Sciences and Humanities, Vietnam National University, Hanoi
10. Summary of thesis results:
Since Doi Moi, Vietnamese art units and organizations have gradually shifted to self-accounting for business. A portion of the creations are funded by the state to serve political tasks. The rest are self-financed by art units. That means both managers and artists must create works that are suitable to the needs of the audience's taste and integrate into the market mechanism.
Vietnamese cinema is also in that general flow. Private film production and distribution companies were born. At the same time, state-owned film studios also transformed to adapt to the new situation, including Giai Phong Film Studio. The studio assigned Le Hoang to make the project Gai Nhay. The film was released at the end of 2002 and received the attention of the general audience, becoming the premise for the birth of the commercial film genre.
Through the survey of three films Blade (1995), Who flows through the miles (1996), and Dancer (2002) by Le Hoang, we see that his films have many new features with the tendency to approach the needs of the mass audience. Specifically, some outstanding features are as follows:
Firstly, in his films, there is a shift in the theme from war and post-war life to contemporary society in the market economy. Secondly, Le Hoang's films show a new perspective on people when exploiting characters. Traditional characters are transformed, exploiting the image of the Republic of Vietnam soldier. Besides, new types of characters appear such as degenerate characters, dancer characters. Thirdly, new aesthetic colors such as romanticization, idealization, diversification in the way of choosing and describing characters, building details, developing the film story exist in Blades, Who flows through thousands of miles and Dancing Girls. Fourthly, Le Hoang's creativity in cinematic language creates works that are easily accessible to the general audience, but still demonstrate the director's authorial style.
Above are the results of our survey with the topic: Creativity in a transitional situation: the case of Le Hoang's films in the late 20th and early 21st centuries. In the future, we hope to continue researching the creations of director Le Hoang, especially the film Gai Nhay.
11. Practical application:
The research results of the thesis will be reference materials for the orientation of composing and producing commercial films in Vietnam today.
12. Further research directions: study Le Hoang's films, especially Gai Nhay, from a sociological approach and from discourse theory.
13. Published works related to the thesis:
(list projects in chronological order if available)
