1. Student's full name: NGUYEN THANH PHONG
2. Gender: Male
3. Date of birth: February 16, 1988
4. Place of birth: Kien Giang
5. Decision No. 3014/2019/QD-XHNV dated July 30, 2019, of the Rector of the University of Social Sciences and Humanities, Vietnam National University, Hanoi, recognizing the student.
6. Changes in the training process: Extension of study time according to Decision No. 1370/QD-XHNV dated June 30, 2021 and Decision No. 06/QD-XHNV dated January 5, 2022
7. Thesis title: The art of Cai Luong and traditional Vietnamese music in Vietnamese feature films (through the films "Ngọn cỏ gió đùa", "Đất phương Nam", and "Song Lang").
8. Major: Theory and history of film and television; Code: 821023.01
9. Scientific supervisor: Assoc. Prof. Dr. Pham Thanh Hung, Faculty of Social Sciences and Humanities, Vietnam National University, Hanoi
10. Summary of the thesis results:
From our research, we have found that the study of cải lương (Vietnamese traditional opera) and đờn ca tài tử (traditional Southern Vietnamese folk music) in Vietnamese cinema has only been in the form of written articles, and there are no dissertations or theses that clearly address this issue. Therefore, we recognize this as a relatively new topic that has not received much attention. Thus, we hope that through this research, we will demonstrate that incorporating cải lương and đờn ca tài tử into cinema, and traditional art forms in general, is a new direction for the film industry. Simultaneously, this is also a way to bring these art forms closer to the audience. The thesis is structured into three chapters:
In Chapter 1, the author studies adaptation and intertextual theories. From the relationship between cải lương (Vietnamese traditional opera) and cinema, the author distinguishes between the concepts of adaptation and transformation to achieve consistency between the two concepts. The work also cites typical research by scholars on the phenomenon of adaptation and transformation in cải lương art in cinema. In particular, it highlights cinematic works bearing the mark of cải lương, including three films: Ngọn (The Flame).
Grass swaying in the wind, Southern land, Song Lang. The author hopes that this research will provide some theoretical basis for future studies on the application of cải lương (Vietnamese traditional opera) art in film.
In Chapter 2, we focused on analyzing the art of cải lương (Vietnamese traditional opera) and solo singing in modern Vietnamese cinema from the perspective of content, social context, social concepts, and the reflection of people's spiritual lives through three films.
In Chapter 3, we focused on researching the music, cinematic techniques, and costumes of Cai Luong (Vietnamese traditional opera) in film. Through our research, we found that the form of Cai Luong and Don Ca Tai Tu (traditional Southern Vietnamese folk singing) is expressed through music. Furthermore, when adapting Cai Luong or Don Ca Tai Tu works for television, attention must be paid to visual, lighting, and sound effects. The preparation time is even more meticulous because many elements are needed to create a film, such as finding suitable locations, props, actors, and shots. The choice of appropriate costumes was particularly emphasized by the directors, especially for the costumes in the film Song Long, as some scenes featured traditional Vietnamese opera (cải lương), requiring costumes that clearly reflected the 1980s. The film's music also had to be chosen to reflect the styles of traditional Vietnamese folk music (đờn ca tài tử) and cải lương; this was a crucial factor in the film's success and helped the audience return to the atmosphere of cải lương and đờn ca tài tử.
Utilizing elements of Cai Luong (Vietnamese traditional opera) and Don Ca Tai Tu (Southern folk music) in film and television is arguably the right approach, not only contributing to the preservation and development of a national heritage art form but also spreading intangible cultural heritage recognized by UNESCO. The success of Song Lang, Ngon Co Gio Dua (The Wind-Swept Grass), and Dat Phuong Nam (Southern Land) is a harmonious and effective combination of theatrical and cinematic art, blending national character with modern elements in character development. These three films form a vibrant overall picture, encompassing both artistic merit and content. Song Lang, Ngon Co Gio Dua, and Dat Phuong Nam are films that leave viewers in awe of the beauty of the culture of the Mekong Delta and Saigon, of cinema, and of traditional music. Ultimately, Song Lang deserves to be considered one of the representative films of Vietnamese cinema in the 21st century.
For filmmakers, it's not just love and responsibility, but the art of Cai Luong and Don Ca Tai Tu (traditional Vietnamese opera and folk music) is also the soul of Vietnamese culture, ensuring that Vietnamese films have a unique identity that sets them apart from other cultures in the process of global integration.
11. Practical applications: The research presented in this thesis can serve as a reference for film editors, directors, and researchers.
12. Future research directions: (if any)
13. Published works related to the thesis:
INFORMATION ON MASTER'S THESIS
1. Full name: NGUYỄN THANH PHONG
2. Sex: Male
3. Date of birth: 16/02/1988
4. Place of birth: Kien Giang Province
5. Admission decision number: No.3014/2019/QD-XHNV, signed by the President of University of Social Sciences and Humanity. Dated Hanoi National University on July 30, 2019.
6. Changes in academic process: Extending the study period according to Decision No. 1370/QD-XHNV dated June 30, 2021; No.06/QD-XHNV dated January 5, 2022
7. Official thesis title: The art of cai luong and ca tai tu in Vietnamese feature films (through the films The Grass and Wind Jokes, Southern Land, Song Lang).
8. Major: Theory, History, and Criticism of Film and Television; Code: 8210232.01
9. Supervisor: Assoc. Prof. Dr. Pham Thanh Hung, University of Social Sciences and Humanity. Dated Hanoi National University
10. Thesis matching:
From the research, we found that the study of the art of cai luong and don ca tai tu in Vietnamese cinema only stopped in the form of articles without a clear research thesis or thesis on this issue. Therefore, we realize that this is also a fairly new topic and has not been really interested by many people. Therefore, we hope that through the research, it will show that the introduction of cai luong and don ca tai tu in cinema in particular and traditional art forms in cinema in general is a direction. new to the film industry. At the same time, this is also a form of bringing these arts closer to the audience. The thesis is divided into 3 chapters:
In chapter 1, the writer studies the theories of adaptation and intertextuality. From the relationship between reformed art and cinema, the writer has
distinguish the concept of adaptation and adaptation in order to have unity between the concepts. The work also cites typical research works of researchers on the phenomenon of adaptation and adaptation in the reformed art into cinema. Especially, the cinematic works are imprinted with the reformation mark, including 3 films: The Grass and Wind Joking, Southern Land, Song Lang. The writer hopes that, through this research, it will partly help the theoretical basis for the upcoming works of reforming the art of cinema.
In chapter 2, we have focused on analyzing the art of cai luong and solo singers in modern Vietnamese cinema from the perspective of content about social context, social conception and reflection of spiritual life. god of man through 3 episodes
In chapter 3 we have focused our research on music, cinematic effects and costumes of the reformed art into cinema. Through the study, we found that in terms of form of expression, the art of cai luong and the solo song of tai tu are expressed in music. In addition, for television when working with adapted works of art such as Cai luong or Dan ca tai tu, attention should be paid to visual, light and sound effects. As for the time part, the preparation work is more thorough because it takes a lot of factors to create a movie such as finding the right setting, props, actors, and scenes. In particular, the selection of suitable costumes is also very important to the directors, especially for the costumes in the movie Song Long because there are scenes using the Cai Luong stage, so the costumes need to be decorated. clearly shown in the 80s. Music in the cinema must also choose songs with the influence of Don Ca Tai Tu and Cai Luong, which is a decisive part of the success as well as helping the audience return to the space of Cai Luong and Don Ca Tai Tu.
Exploiting the material Cai Luong and Don Ca Tu in the field of film and television can be said to be a right direction, not only contributing to the preservation and development of a national heritage art form, It is also a way to spread the intangible cultural heritage recognized by UNESCO. The success of Song Lang, The Grass of the Wind, and the Southern Land is a smooth and effective combination of theater and cinema art, etched in legendary material and modernity in image construction. character statue. The three films are a colorful overall picture from art to content. Song Lang, The Grass of the Wind, and Southern Land are films that make viewers admire the beauty of Western culture and Saigon, cinema, and national music. Finally, Song Lang deserves to be one of the typical films for Vietnamese cinema in the 21st century.
For filmmakers, not only love and responsibility, but the Art of Cai Luong and Don ca tai tu are also the soul of Vietnamese culture, so that Vietnamese films bring their own identity not to be confused with other cultures in the past. general integration.
11. Practical applicability (If any): The thesis can be served as a reference for editors, directors, film researchers.
12. Further research directions (If any):
13. Theses related publications:
