Ngo Thi Thanh
If you look at the works of Nguyen Trinh Thi, we can recognize a trend blurs genre boundaries: documents, video art, experimental film. With her, I see the emergence of a new type of film makers: artist moving image (moving image artist), that is, she no longer commit themselves to a mechanism which tends to be kind of more independent in creating the unit tests on the basis of the film: moving image, thereby creating a personal space, bold reflection in his works. This reveals the process if we observe Unsubtitle (2010), Chronicle of a Tape recorded over (2011) and most recently Jo Ha Kyu (2012). It can be said that, as Jo Ha Kyu seasoned step change in the language of art directed by here, according to my criteria, you can create a work of abstraction when harmony of sound – the image – montage freed of material bound to go out of state to be more elusive.
1. Jo Ha Kyu – filmmakers can create poetry on how visual language
‘s Poetic visual language not only lyrical sense of visual content but also the ability to abstract the message in the way of it.
The first point that the viewer feels the challenges of narrative elements (narrative) of Jo Ha Kyu. Trinh Thi said: I want to incorporate elements of narrative and non-narrative in this work. In fact, Jo Ha Kyuco a narrative structure quite closely: it is a dream – the unconscious journey of discovery of 7-year-old girl. Directed by creating a dream space by way of traditional image processing: starting with the faces of the passengers were sleeping on a train trip, including her face, An (her daughter) to over half of the film is her face, back, and end with the film space, forming a closed loop. In the middle of the blade picture drama is very loosely linked in terms of the surface itself, but hooked up with a subtle narrative in terms of depth created by the associated network through links and graphics sound design. It was a tight structure overall which is still full of gaps and leaks in the detailed narrative, the situation has opened a bohemian image of the game, an interesting precarious state of the chase ie, from the challenges that go to the heart of homogenization / actors for film world – a destabilizing activities “identity” (identity).
The second challenge is the message of the film?. As director confided, the film is about personal feelings Tokyo after the earthquake: a peaceful life there, almost flat unprecedented crisis does go through. But she still felt insecure status implicit, lurking everywhere. To present the invisible Thi Trinh was using full sound design intent. Just like status “danger” to the standing of a whole in terms of narrative, in Jo Ha Kyuthuong orchestrations are frequently unexpected turns sharply to the layering sound, creating friction between the static – dynamic, the transference between real – abstract. I like how you put the sound recorded earthquakes from the ocean. Friday vibration becomes obsession when it retrospective tone of the sound of the train, ve known. Feelings of fear, horror has overwhelmed about sinking into unconsciousness, and then from here will forever make sense for the real world around: the time has come to such space, such as a comment in Sans Soleil: “No time is the dizziness of time “…. Sounds – particularly traumatic impressive demonstration of the naked man. At a certain moment, the sound earthquake rose markedly in thuynh thuych language, brutal power of its destruction exist on bare skin. Directed by violence pushed up by the slow motion: then, it is no longer a comedy but then flesh things down, cynical.
The trend is reflexive film Jo Ha Kyu’s message is also discussed in terms of limited means (motion picture) in the reflected reality (Tokyo). I’m going to do this in part 2 of the article.
2. Jo Ha Kyu – the concept “moving image” and “ability to capture reality”
Trinh Thi is well aware she is not making films about Tokyo that is feeling and her personal experiences as an outsider (outsider). Moreover, she said that when she makes Jo Ha Kyu was very much inspired from Chris Marker’s Sans Soleil – a film about the legendary break recreate realistic possibility; particular, space is no longer homogeneous monolithic which shattered into fragments, it becomes deep vortex of time, memories, experiences blur flashed suddenly. The frequently observed edge-ejected by the void, the images – the language can not be connected with the subject. He tasted the vacuum state, floating adrift, a state roots, a deep pain from the cracked significant difference and become no shelter.
Indeed, Jo Ha Kyu is a combination of the traces. Having realized the similarities between Jo Ha Man with a movie camera Kyuva of D. Vertov by both films were shown a picture of the city and highlight the measures montage. But the basic difference lies in the relationship between filmmaker and reality is reflected and therefore, if the Man with a movie camera, camcorder manifests its omniscience with excitement, pride inspiration to all the world’s directed at Jo Ha Kyu was limited sense, helpless state before the remarkable way in the world, just like her sharing: An seeing ahead very far from the couple, she feels like she is losing. She is growing up and is no longer on mother’s arms wrapped again. In the film, she uses many jump-cut, deny fulfilled, full of progress, action. Feeling ephemeral, fragile images appear within a frame: the super-speed train crushing people, leaving the filling spills scratch.
Location outsiders expressed her dense in the continuous development of the “gaze” (gaze). If previously the director used the camera to look at the people and the surroundings with this episode, she “was looking” back. This is the time of the “tension” / challenge “identity” (identity). This feeling is more pronounced when the final seconds of the sequence of images is the mask of traditional Japanese theater with certain similarities to her face An – moments of “identity” becomes loose waves comparison, instability.
As can be seen, Jo Ha Kyu is a cruise experience / “test” individuals (from the use of T. Corrigan – Essay film expert from the University of Pennsylvania, has spoken in film and in May / 2012). As the director said, she filled in for her and Tokyo such a filmmaking process that I discovered a new, welcome the ability to change the “identity”, to reflect the author to / prejudiced … And one last thing, to me, Jo Ha Kyu is a liberation.
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