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DC Field | Value | Language |
---|---|---|
dc.contributor.author | Mai, Anh Tuấn | vi |
dc.date.accessioned | 2024-06-20T08:33:42Z | - |
dc.date.available | 2024-06-20T08:33:42Z | - |
dc.date.issued | 2023 | - |
dc.identifier.uri | http://huc.dspace.vn/handle/DHVH/19242 | - |
dc.description.abstract | This paper analyzes "Ben khong chong" film ("Wharf of Widows", 2000, Director. Luu Trong Ninh) in terms of mise-en-shot and mise-en-scene, to affirm that the film is the most significant model of Vietnamese cinema in selecting, recreating and formalizing the geographical, natural and daily life of the Northern countryside. Along with re-considering films that has many commons as Ben khong chong, the paper aims to assert that the clear appearance of the Northern village landscape in Vietnamese cinema since the mid-1990s has been in the trend of exploiting, reusing and creating the country's cultural features, elements and indigenous stories. Additionally, it has shown a remarkable rise in the sense of nostalgia for the countryside in the context of socio-economic changes and global integration process which has caused Vietnam to gradually lose its traditional base, including ancient village culture and landscape. | vi |
dc.language.iso | vi | vi |
dc.publisher | Nhà xuất bản Đại học Quốc gia Hà Nội | vi |
dc.subject | Hội thảo khoa học quốc tế | vi |
dc.title | Khuôn mẫu và tái dựng: Cảnh quan làng Bắc Bộ trong phim Bến không chồng | vi |
dc.type | Article | vi |
Appears in Collections: | LĨNH VỰC SÁNG TÁC VĂN HỌC VÀ BÁO CHÍ |
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