A film is not a unique work. This is the assertion of the left-leaning German philosopher Walter Benjamin in his important essay "The Art in the Age of Technical Humanism." According to him, the history of film has shown that the aesthetic nature of cinema is inseparable from social consciousness, relationships, and roles. The textbook "Sociology of Cinema" by Associate Professor Dr. Phung Ngoc Kien is a study of cinema within the context of social relationships, within social relationships with the presence of social institutions and the symbolic world of reality in cinema. In it, the reader sees cinema viewed from its very technical nature, which is both socio-political and aesthetic. The textbook is compiled based on years of lectures for master's degree training in the Theory and History of Film and Television at the Faculty of Literature, University of Social Sciences and Humanities, Vietnam National University, Hanoi. Film sociology has challenged the prejudices and romanticization tendencies of some sociological studies regarding artistic creation in general and cinema in particular, by fairly and objectively examining the subject of cinema from multiple perspectives, from the process of creating a film product, the film product itself, to the production of the film product, and finally, the reception of the film product.
The book is divided into six chapters, ranging from a general overview of film sociology to in-depth analyses of the social relationships and institutions that exist within cinema. In the opening chapter, "General Overview of Film Sociology," the author asserts that no art form exists outside of society, entirely dependent on individual will and subjective desires without any intervention from social factors. Artists do not create in a vacuum but always need the surrounding atmosphere and ecosystem for their creative process. In the sociology of art in general, scientific approaches encompass many art forms concerned with the world reflected in various art forms and the relationship between the inner and outer worlds of the work. Here, film sociology is a new discipline with fundamental characteristics regarding social relations in cinema: (1) the mediating role of the film between the creative subject and the receiving subject in production, distribution, criticism and media institutions; (2) the role of economics, politics, education, law… in the reciprocal, two-way relationship between the trio of works, the receiving subject and the creator; (3) the technical infrastructure with technological advancements as fundamental elements for a film to exist.
The next three chapters of the book analyze the role of social relations in cinema. Chapter 2, "Cinema as a Synthesis of Social Relations," views cinema within the complex framework of art and culture, as a cultural and entertainment industry, and as a socio-cultural process. The author addresses the concepts of "reproduction" and the secularization, popularization, commercialization, democracy, and mass appeal of modern cinema. The author also points out the unique characteristic of art in general and cinema in particular in the modern era: its entertainment function. Also in Chapter 2, the book affirms that an artistic product, including cinema, is a process of existence with profound social implications. In this context, social relations are even more clearly expressed through technical elements as the basis for cinematic aesthetics in Chapter 3: "Cinema in Social Relations." The creation of a film requires complex technical and mechanical techniques. The author points out the technical differences closely related to the role of society and political ideology in the creation of a film. In particular, politically and ideologically-driven techniques directly influence aesthetics. It is evident that without objective material and technical conditions, film cannot function as a true art form. Material factors are crucial in building, maintaining, and enriching the aesthetic thinking of film and audience reception. Especially in the context of the explosive development of technology, film is moving closer to the "post-cinema" era. The emergence of artificial intelligence and digital technology has contributed to the creation of a new aesthetic, challenging old value systems and demanding a new position in a rapidly changing age. Furthermore, a vital social relationship that shapes film is the audience. In any art form, a work cannot be itself without an audience. The book points out that the concept of the audience in modern art, including cinema, is not just a homogeneous group but a diverse and complex one. The audience will be the recipient, consumer, and promoter of cinematic works – thereby determining the survival of cinematic art.
The last two chapters of the textbook analyze the relationship between the fictional world in films and the reality of society, summarize the symbols of reality in cinematic works, and outline the role of cinema in both historical development and the context of globalization and the commercial world. The book engages in critical dialogues about the profitability of cinema and its aesthetic value/exploration; as well as the polarization between the masses and art in modern films. In addition to six chapters with six in-depth research perspectives on the sociology of cinema, the textbook includes sections on theoretical reading and discussion, and practical observation and discussion in each chapter. The author has also meticulously compiled a vocabulary of film sociology to help readers independently understand the concepts used in this work and to apply them in their research and approach to the sociology of cinema.
With its tight and thought-provoking structure, Associate Professor Dr. Phung Ngoc Kien's *Sociology of Cinema* is a comprehensive and innovative study that objectively and fairly views cinema as a synthesis of social relationships, while encouraging critical thinking in the process of reading and interacting with the book. The book affirms that cinema cannot exist independently but is always linked to social factors, from technical infrastructure and political and economic institutions to the role of the public. These seemingly technical factors can directly impact aesthetics, and the development of technology has been shaping a new cinematic aesthetic in the "post-cinema" era. This is not only a valuable academic resource for students and researchers, but also allows anyone who loves cinema to read and delve deeper into the complex, multi-layered nature of this art form.
