Cinema as Cultural Translation: The Production of Vietnam in Trẩn Anh Hùùng's Cyclo

Abstract

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.. University of California Press is collaborating with JSTOR to digitize, preserve and extend access to Journal of Vietnamese Studies.

The Roles and Representations of Women in Post-Doi Moi Vietnamese Cinema

“…Popular (or commercial) cinema is a particularly fruitful arena in which to investigate these translations, as, almost by definition, such films are attempting to connect with a wide and varied audience. Without going into great detail about the history of film/cinema studies, suffice it to say that it has only been towards the end of the twentieth and beginning of the twenty-first century that scholars such as Rey Chow (1995), Annette Hamilton (2009), Leslie Barnes (2010), or indeed Trinh Minh Ha herself, have taken up the challenge of critically analyzing and writing about cinema as a socially and culturally-embedded text. While there were earlier examples of scholars who promoted this approach in regard to commercial cinema, such as John Weakland (1975), it took some time for the approach to gain wider acceptance.…”

“Mapping Vietnamese Identities in Tran Anh Hung’s and Tony Bui’s Films: Femininity and Love”

“…To express that resistance, Tran Anh Hung merges and overlaps types of sound, colors, and mixes scenes. As Barnes (2010) argues "The persistence of fluorescent lighting facilitates transitions between spaces and sensations throughout the film, merging the various sites of nefarious activity and blurring the lines between innocence and perversion" (117). The process of "blurring the lines between innocence and perversion" and resistance to violence is also revealed through most of the characters in Cyclo.…”