1. Student's full name: Le Cuong 2. Gender: Male
3. Date of birth: September 25, 1963
4. Place of birth: Thua Thien - Hue
5. Decision on student admission No. 3617/2018/QD-XHNV dated December 4, 2018, by the Rector of the University of Social Sciences and Humanities, Vietnam National University, Hanoi.
6. Changes in the training process: Extension of study time according to Decision No. 2102/QD-XHNV dated November 10, 2020; Decision No. 703/QD-XHNV dated April 5, 2021 and Decision No. 2453/QD-XHNV dated November 19, 2021.
7. Thesis title:Filmmaking techniques in films for young adults: The case of films like "I See Yellow Flowers on Green Grass" and "The Girl from Yesterday".
8. Major: Theory and History of Film and Television; Code: 8210232.01
9. Scientific supervisor: Dr. Nguyen Phuong Lien, Faculty of Social Sciences and Humanities, Vietnam National University, Hanoi
10. Summary of the thesis results:
To examine the two films, "I See Yellow Flowers on Green Grass" and "The Girl from Yesterday," we applied theories of filmmaking and editing in cinema using comparative methods, case studies, and sociology. In addition, we employed statistical methods, surveys, and other techniques.
Set design and editing are two distinct stages within the filming process once a project has begun. However, the connection between these two stages is crucial, as they highlight the director's individual role more clearly than any other. While set design and editing during post-production involve discussions and exchanges between the directing team and cinematographer, as well as input from the props and lighting team (set design); the technical and sound team (editing)... and sometimes even the producer; the director's responsibility and role are inherently decisive in these two stages. Therefore, examining and researching these two stages in the art of set design is our direct approach to showcasing the director's talent in the two cases discussed in the following chapters.
Everyone knows that establishing rules in any field aims to make work more efficient. However, in many specific cases, mechanically following rules is not as helpful as breaking them. World history has shown many cases of outstanding success thanks to mastering rules and then breaking them to surpass them. A more recent example is that many Vietnamese films, such as "The Race," "Lost World," "Soul Stealer," "Dusty Life in Cho Lon," and "Huong Ga," adhere quite strictly to rules and attempt to tell a compelling story with many thrilling plot twists, unique characters, and various "attractions" like star actors, gruesome details, and sex elements, have not achieved the desired success. In contrast, "I See Yellow Flowers on Green Grass," despite violating creative rules, was still accepted by the public and achieved resounding success. Clearly, strict adherence to rules is sometimes unnecessary, especially in the field of artistic creation. An artist who can create "rule-breaking" works must understand the rules of their field better than anyone else. The difference between a great artist and an ordinary artist lies in the fact that the ordinary artist is a "slave" to the rules, while the great artist is not. They know how to master the rules to freely pursue beauty. Director Victor Vũ and his film "I See Yellow Flowers on Green Grass" are a testament to this.
Researcher Hoang Cam Giang affirmed: "As a product of modern society, cinema also sensitively reflects all aspects of modern society, including the issue of 'urban' - 'rural' as well as the interaction and transfer between them [3; p.110]. Each of writer Nguyen Nhat Anh's works has a very close link between these two spaces because he grew up in Quang Nam, a land with a long tradition of foreign trade, so urbanization has been going on for several hundred years, but the coastal rural areas are beautiful, poetic and extremely peaceful. Perhaps that is why in films adapted from his works, the beautiful natural scenery has never been overlooked by filmmakers, especially when good staging will create an excellent effect for the film's narrative process. With The Girl from Yesterday, there is no element of promoting a specific land like the case of Phu Yen in I See Yellow Flowers on Green Grass, but a tranquil, peaceful city and suburban scenes full of character." Poetry, a place where young men and women immersed in school-age love find within themselves a space of transcendence (beach, fields, waterfalls and streams, gardens...), can be considered a crucial effect of the setting and filmmaking on the audience. The impression left on young people leaving the theater is one of peaceful land, a tranquil life with many promises of romantic love. In the future, we can certainly expect that when Phan Gia Nhật Linh brings his artistic products to the world, international friends will find in them the image of a Vietnam today full of youthful energy, from the landscapes to the effort to tell the story of his nation and his generation in a new way, no longer haunted by the misery of victims of war and poverty. With a director at the age of reaching the peak of his talent, we have every right to hope!
11. Practical applications: (if any)
12. Future research directions: (if any)
13. Published works related to the thesis:
INFORMATION ON MASTER'S THESIS
1. Full name: Le Cuong 2. Sex: Male
3. Date of birth: September 25, 1963 4. Place of birth: Thua Thien – Hue
5. Admission decision number: 3617/2018/QD-XHNV Dated December 4, 2018
6. Changes in academic process: Extension of study period according to Decision No. 2102/QD-XHNV dated November 10, 2020; Decision No. 703/QD-XHNV dated April 5, 2021 and Decision No. 2453/QD-XHNV dated November 19, 2021.
7. Official thesis title: Art of Blocking and Mongtage for Coming Age in Case: Dear Brother and The Girl from Yesterday.
8. Major: Argument, history and criticism of cinema and television 9.Code: 8210232.01
10. Supervisors: Dr. Nguyen Phuong Lien - Faculty of Literature, University of Social Sciences and Humanities, Vietnam National University, Hanoi.
11. Summary of the results of the thesis:
To survey two the films Dear Brother and The Girl from Yesterday, we apply the theory of blocking and montage by methods of comparison, case study and sociology. In addition, we also use statistical, survey and some other operations.
Blocking and montage are two separate stages from each other in the filming process of a whole movie project once it's started. But the connection between the first and last stages of this process is extremely important as these two films show the director's personal role most clearly. Whether film blocking or montageworks in post-production involves the discussions and exchanges between the director and cinematographers as well as the participation of the props and lighting (blocking); technical team, sound (montage)... sometimes even the producer; However, the responsibility and implicit role of film director will be decided in these two films. Therefore, surveying and studying these two films in the art of blocking is our way of directing the director's talent in the two cases in the following chapters.
Everyone knows that the formation of a system of rules in any field is aimed at making work more efficient. However, in many specific cases, following the rules is not as helpful as breaking the rules. World's history has had many cases of outstanding success through mastering the rule to break it, rise above it. And closer proof is that many of our Vietnamese films follow the rules such as Racetrack, Lac Gioi, Soul Capture, Cho Lon Dust, Huong Ga... and try to tell a compelling story with many thrilling details, characters with many special features, many tricks to "seduce" the audience such as star actors, creepy details, sex elements... but they have not been really successful as expected. Dear brother violated the rules of compositionbut were still accepted by the public and had great success. Obviously, following the rules is sometimes unnecessary, especially in the field of artistic creation. An artist who can create "anti-rules" must surely understand the rules of his field of expertise better than anyone. And the difference between a good artist and an ordinary one is that the ordinary one is a "slave" of the rules while the good one is not. They know how to master the rules to freely reach for beauty. Directors Victor Vu and Dear Brotheris a proof of that.
Researcher Hoang Cam Giang asserts: "As a product of modern society, cinema also sensitively reflects all aspects of modern society, including the issue of "urban" "- "rural" as well as the interaction-transfer between them [3; p.110]. Each work of writer Nguyen Nhat Anh itself has a close connection between these two spaces because he grew up in the land of Quang Nam with a long tradition of foreign trade, so it has been urbanized for several hundred years, but the coastal countryside is poetic and very peaceful. Because of that, in the movie based on his book, the natural beauty has never been overlooked by filmmakers, especially when blockingwill create excellent effects for the film's narrative process. There was no promotional element for a specific land in The Girl from Yesterday like Phu Yen in Dear Brother, but a quiet, peaceful city and poetic suburban scenes, where the Young boys and girls who are immersed in the love of students find themselves in (beach, field, waterfall and stream, garden...) which can be considered as an important effect of the blocking and montage for the audience. The impression left on young audiences was a peaceful land, a quiet life with many promises of love, in the future, it is completely possible to expect Phan Gia Nhat Linh to bring his product to the world, international friends will find in it a Vietnam full of energy, from the scenery to the effort to tell the story of nations, generations in a new way, without the obsession of the victims of war and poverty. With the talented director, we completely can hope!
12. Practical applicability, if any:
13. Further research directions, if any:
14. Thesis-related publications:
