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Serial and palimpsest: landscape in Vietnamese cinema

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  • Earl Jackson

Abstract

This essay is a study of how landscapes are represented and what they signify in the work of three cutting-edge Vietnamese filmmakers: Siu Pham (1946-); Nguyễn Trinh Thi (1973-)’ and Phan Đăng Di (1976-). Although diverse in their methods and foci, their works share a thematic and politico-aesthetic concern for the Vietnamese landscape as an interface between historical trauma and expressive resistance. Through close readings of these experimental films, I distil a theory from their respective radical practices. Conversely, because of the significant interest in Japanese landscape theory (fūkeiron) among both Vietnamese filmmakers and scholars, I briefly review the major Japanese advocates of fūkeiron, not to ‘apply’ it to the Vietnamese case, but to expose fūkeiron’s internal inconsistencies and thereby further illuminate what the Vietnamese filmmakers have accomplished.

Suggested Citation

  • Earl Jackson, 2024. "Serial and palimpsest: landscape in Vietnamese cinema," Landscape Research, Taylor & Francis Journals, vol. 49(8), pages 1077-1094, November.
    • Handle: RePEc:taf:clarxx:v:49:y:2024:i:8:p:1077-1094
    DOI: 10.1080/01426397.2024.2405043
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