CẢNH QUAN, THÂN THỂ, THI CA: TỪ MỸ HỌC SINH THÁI ĐẾN TRỊ LIỆU XANH TRONG ĐIỆN ẢNH NGHỆ THUẬT HÀN QUỐC VÀ VIỆT NAM [QUA THƠ VÀ TRĂNG NƠI ĐÁY GIẾNG]

0 Người đánh giá. Xếp hạng trung bình 0

Tác giả: Cẩm Giang Hoàng

Ngôn ngữ: vie

Ký hiệu phân loại:

Thông tin xuất bản: Tạp chí Khoa học Xã hội, Nhân văn và Giáo dục, 2023

Mô tả vật lý: tr.104-114

Bộ sưu tập: Metadata

ID: 338830

Thêm vào giỏ Liên kết toàn văn

Bài viết phân tích mối liên hệ sâu sắc và phức tạp của tự nhiên, thân thể nữ tính và thi ca trong hai bộ phim nghệ thuật Trăng nơi đáy giếng (Nguyễn Vinh Sơn, 2008, Việt Nam) và Thơ (Lee Chang-dong, 2010, Hàn Quốc). Từ đó, chúng tôi nhìn nhận hai bộ phim này như là những diễn ngôn mang tính phản biện đối với dòng điện ảnh thương mại đang chiếm lĩnh thị trường châu Á - vốn có xu hướng làm đẹp và lãng mạn hóa cả hai chủ thể “phong cảnh” và “nữ giới”. Đi sâu hơn vào cách trình hiện quyền lực của cảnh quan cố đô, cũng như sự kháng cự của thân thể nữ tính với quyền lực vô hình ấy, thông qua việc so sánh với các tác phẩm giải trí đại chúng khác mang vẻ “đẹp như tranh” xuất hiện cùng thời, bài viết khảo sát quá trình các yếu tố mỹ học môi trường trong dòng phim nghệ thuật chất vấn diễn ngôn sinh thái và giới trong phim thương mại hay phim truyền hình. Bài viết cũng tìm kiếm điểm thú vị kết nối hai bộ phim ở sự chia sẻ về tính nặng nề, bảo thủ của xã hội gia trưởng truyền thống va chạm với những đổi thay đương thời
ở vẻ đẹp của thế giới tự nhiên được nội hóa gắn liền với những tổn thương và sự cứu rỗi những người phụ nữ ở tầng lớp thấp của xã hội
ở sự định nghĩa lại về thơ ca không chỉ như là bề mặt của những hình ảnh phong cảnh đẹp đẽ mà còn là đáy sâu khủng hoảng và bi kịch bị lãng quên của con người.The article analyzes the deep and complex relationship between nature, the feminine body and poetry in two art films The moon at the bottom of the well (Nguyen Vinh Son, 2008, Vietnam) and Shi (Bourne, 2010). From there, we see these two films as critical discourses against the commercial cinema that is dominating the Asian market (which tends to beautify and romanticize both subjects, “landscape” and “female”). Then, going deeper into the powerful expression of the ancient capital landscape, as well as the feminine body’s resistance to that invisible power, through comparison with other popular entertainment works with the “picturesque” appeared at the same time, the article examines the process of eco-aesthetics in art films that question ecological and gender discourses in commercial films or television series. Finally, the article also looks for an exciting point connecting the two films in the sharing of the conservatism of the traditional patriarchal society colliding with recent changes, in the beauty of the natural world is internalized associated with the trauma and salvation of women in the lower classes of society, in the redefining of poetry not only as of the surface of beautiful landscape images but also as the depths of forgotten human tragedy and crisis.

1. Đọc trực tuyến

1. Đọc trực tuyến

Tạo bộ sưu tập với mã QR