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 recognition of students No. 3617/2018/QD-XHNV dated December 4, 2018 of the President of the University of Social Sciences and Humanities, Vietnam National University, Hanoi
6. Changes in the training 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. Thesis topic name:The art of staging in films for young adults: The case of the films "I see yellow flowers on the green grass", "The girl from yesterday"
8. Major: Historical theory of cinema and television; Code: 8210232.01
9. Scientific advisor: Dr. Nguyen Phuong Lien, University of Social Sciences and Humanities, Vietnam National University, Hanoi
10. Summary of thesis results:
To examine the two cases of the films I See Yellow Flowers on the Green Grass and The Girl from Yesterday, we applied the theory of the art of staging and editing in cinema by using the methods of comparison, case study and sociology. In addition, we also used statistical operations, surveys and some other operations.
Staging and editing are two stages separated by the filming process in a film project once it has begun. However, the connection between the first and last stages of this process is extremely important as these two stages show the director's personal role more clearly. Whether staging or editing in post-production, there is discussion and exchange between the director's team and the cinematographer as well as the participation of opinions from the props and lighting (staging); technical team, sound (editing)... sometimes even the producer; however, the responsibility and implicit role of a film director will be decisive in these two stages. Therefore, surveying and researching these two stages in the art of staging is the way we directly target the director's talent in the two cases examined 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, mechanically following the rules is not as useful as breaking the rules. World history has seen many cases of outstanding success thanks to mastering the rules to break them, surpass them. And closer evidence is that many of our Vietnamese films follow the rules quite strictly such as Duong Dau, Lac Gioi, Doat Hon, Bui Doi Cho Lon, Huong Ga... and try to tell an attractive story with many suspenseful details, characters with many special features, many tricks to "entice" the audience such as star actors, creepy details, sex elements... but all have not really succeeded as expected. As for Toi thay hoa vang tren co xanh, although violating the rules of composition, it was still accepted by the public and was a great success. Obviously, following the rules is sometimes unnecessary, especially in the field of artistic creation. An artist who can create “anti-rules” must understand the rules in his field of expertise better than anyone else. And the difference between a good artist and an ordinary artist is that an ordinary artist is a “slave” to the rules, while a good artist is not. They know how to master the rules to freely reach for beauty. Director Victor Vu and I See Yellow Flowers on the Green Grass are a testament to that.
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 - transfer between them [3; p.110]. Each work of writer Nguyen Nhat Anh himself has a very close connection between these two spaces because he grew up in Quang Nam 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 the films adapted from his works, natural beauty 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 the Green Grass, but a quiet, peaceful urban area and outdoor scenes The poetic city, where young men and women immersed in student love find within themselves a sublime space (beach, field, waterfall and stream, garden...) can be considered an important effect of the staging and editing of the film for the audience. The impression left on young people who have just left the theater is a peaceful land, a peaceful life with many promises of love between couples. In the future, it is completely possible to expect that when Phan Gia Nhat Linh brings his artistic products to the world, international friends will find in it the image of a Vietnam today full of youthfulness from the scenery to the effort to tell the story of his people, his generation in a new way, no longer haunted by the pity of the victims of war and poverty. With the age of a director entering the peak of his talent, we have every right to hope!
11. Practical application: (if any)
12. Further 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 Race Track, 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:
