Rockbund Art Museum 上海外滩美术馆

The Poetic Narrative of Women in the Video World of Trinh T. Minh-ha as Seen in The Surname Viet Given Name Nam 从《姓越名南》看郑明河影像世界的女性诗学叙事

Event Information

Date: 27 November 2022
Time: 10:00 14:40
Venue: Rockbund Art Museum

活动信息

日期: 2022年 11月 27日
时间: 10:00 14:40
场馆: 上海外滩美术馆

Trinh T. Minh-ha's video works can be viewed and interpreted in a variety of dimensions, both artistically and ideologically. This film review session, between the presentation of the two films The Surname Viet Given Name Nam(18:00-19:50) and A Tale of Love (20:50-22:40), will be presented by Feng Chao, Associate Professor and Director of the Vietnamese Language Department at the School of Oriental Languages, Shanghai International Studies University, mainly from the ideological aspect of the films, using the poems of two well-known female literary poets in Vietnam The film is about the relationship between China and Vietnam, the traditional culture of Vietnam, the trauma of separation, the survival of Vietnamese women and their struggle against their fate.

The title of Viet Nam (1989) comes from a Vietnamese woman's response to a male suitor who said she was married to someone with the name "Viet Nam". As the five women interviewed speak, the viewer is drawn into the changing role of women in the changing Vietnamese society, feeling the lives and destinies of women bound by traditional ethical dogma, and thus contemplating the topics of women, identity, culture and nation, as well as getting a glimpse into some aspects of Vietnamese history and reality. As the film progresses into the second half, the viewer is shocked to discover that the five contemporary women do not actually live in Vietnam, but are interviewed by characters designed by the director to interpret the texts and translations she has provided. Interestingly, the women who are interviewed later on, when they revert to their 'real identities', seem unable to speak their minds and are reserved in their conversations, thus blurring the lines between real and fictional, 'insider' and 'outsider'. The boundaries between real and fictional, "inside" and "outside" people are blurred, becoming intersecting and indistinguishable.


郑明河的影像作品在艺术和思想上都有多种维度的观看与解读方式,本次影评会在《姓越名南》(18:00-19:50)和《爱的故事》(20:50-22:40)两部影片的呈现之间,由上海外国语大学东方语学院副教授、越南语教研室主任冯超主要从影片的思想性层面出发,以越南国内两位知名女性文学诗人的诗为题眼,讲述中越两国的渊源与关系,如何看待越南传统文化,以及影片中体现的强烈分离创伤、越南女性的生存问题和她们对于命运的抗争等。

《姓越名南》(1989年)标题来源于越南女性在回答男性追求者时说自己嫁给“姓越名南”之人。跟着五位受访女性的娓娓诉说,观众逐渐进入到越南社会变迁下的女性角色改变之中,感受到在传统伦理教条束缚下的女性的生活与命运,进而思考女性、身份认同、文化与国家等话题,同时略窥越南历史与现实的某些方面。当电影进展到后半部分,观众愕然发现这五位当代女性实际并非生活在越南,前面的受访是由导演所设计的角色演绎出她所提供的文本与翻译。有趣的是,后面恢复了“真实身份”接受采访的几位女性似乎反而无法直抒胸臆,谈话之间有所保留,因而真实与虚构、“局内”与“局外”人的界限模糊了起来,成为了相互交叉、难以分辨的存在。

影片除了呈现对历史与现实社会的反思与表达,还对真实与虚构、实时记录与表演再现的关系进行了巧妙处理,揭示和反思了纪录片包含的虚构性,因而成为反射型纪录片的代表作。同时,全片穿插着越南语诗歌、独白与画外音,以大量的语言邀请观众进入亲身感受、体会,自我思考的观影之旅。

《爱的故事》(1995年)是郑明河第一部叙事长片,描绘了在旧金山生活的越南移民Kieu的经历。本片以越南著名长诗《金云翘传》(《The Tale of Kiều》)(越南原名《断肠新声(Đoạn Trường Tân Thanh)》为灵感,通过女孩Kieu追求爱的的故事讨论了独立女性、身份认同等问题。《金云翘传》的女主角迫于封建社会动荡为家庭沦落风尘,而本片中生活在现代美国的Kieu也被夹在两种文化之间,在经济必要性和肉欲之间挣扎。偷窥癖贯穿始末构成了电影的一条主线,揭示了爱情故事中的爱情虚构和消费过程。郑明河将传统的叙事标准边缘化,用非自然主义的表演将现实、记忆、想象分层互动,超越了叙事电影和实验电影之间的界限,带来独特的体验。

About the Event 关于活动

Trinh T. Minh-ha's video works can be viewed and interpreted in a variety of dimensions, both artistically and ideologically. This film review session, between the presentation of the two films The Surname Viet Given Name Nam(18:00-19:50) and A Tale of Love (20:50-22:40), will be presented by Feng Chao, Associate Professor and Director of the Vietnamese Language Department at the School of Oriental Languages, Shanghai International Studies University, mainly from the ideological aspect of the films, using the poems of two well-known female literary poets in Vietnam The film is about the relationship between China and Vietnam, the traditional culture of Vietnam, the trauma of separation, the survival of Vietnamese women and their struggle against their fate.

The title of Viet Nam (1989) comes from a Vietnamese woman's response to a male suitor who said she was married to someone with the name "Viet Nam". As the five women interviewed speak, the viewer is drawn into the changing role of women in the changing Vietnamese society, feeling the lives and destinies of women bound by traditional ethical dogma, and thus contemplating the topics of women, identity, culture and nation, as well as getting a glimpse into some aspects of Vietnamese history and reality. As the film progresses into the second half, the viewer is shocked to discover that the five contemporary women do not actually live in Vietnam, but are interviewed by characters designed by the director to interpret the texts and translations she has provided. Interestingly, the women who are interviewed later on, when they revert to their 'real identities', seem unable to speak their minds and are reserved in their conversations, thus blurring the lines between real and fictional, 'insider' and 'outsider'. The boundaries between real and fictional, "inside" and "outside" people are blurred, becoming intersecting and indistinguishable.

Apart from presenting reflections and expressions on history and real society, the film also skillfully deals with the relationship between truth and fiction, real-time recording and performance reproduction, revealing and reflecting on the fictionality contained in documentaries, thus becoming a masterpiece of reflexive documentary. At the same time, the film is interspersed with Vietnamese poetry, monologues and voice-overs, inviting the viewer into a journey of personal feeling, experience and self-reflection in a plethora of languages.

A Love Story (1995) is the first narrative feature film by Tay Minh Ho, depicting the experiences of Kieu, a Vietnamese immigrant living in San Francisco. Inspired by the famous Vietnamese long poem The Tale of Kiều (originally titled Đoạn Trường Tân Thanh), the film discusses issues of independent womanhood and identity through the story of Kieu's quest for love. Whereas the heroine of The Legend of Jin Yun Qiao was forced by the turmoil of feudal society to fall into poverty for her family, Kieu in this film is caught between the two cultures, struggling between economic necessity and carnal desire. Voyeurism forms one of the main threads of the film throughout, revealing the fictional and consumer process of love in a love story. By marginalising traditional narrative standards and using non-naturalistic performances to interact with reality, memory and imagination in a layered manner, Jung Myung-Ha transcends the boundaries between narrative and experimental cinema to deliver a unique experience.

郑明河的影像作品在艺术和思想上都有多种维度的观看与解读方式,本次影评会在《姓越名南》(18:00-19:50)和《爱的故事》(20:50-22:40)两部影片的呈现之间,由上海外国语大学东方语学院副教授、越南语教研室主任冯超主要从影片的思想性层面出发,以越南国内两位知名女性文学诗人的诗为题眼,讲述中越两国的渊源与关系,如何看待越南传统文化,以及影片中体现的强烈分离创伤、越南女性的生存问题和她们对于命运的抗争等。

《姓越名南》(1989年)标题来源于越南女性在回答男性追求者时说自己嫁给“姓越名南”之人。跟着五位受访女性的娓娓诉说,观众逐渐进入到越南社会变迁下的女性角色改变之中,感受到在传统伦理教条束缚下的女性的生活与命运,进而思考女性、身份认同、文化与国家等话题,同时略窥越南历史与现实的某些方面。当电影进展到后半部分,观众愕然发现这五位当代女性实际并非生活在越南,前面的受访是由导演所设计的角色演绎出她所提供的文本与翻译。有趣的是,后面恢复了“真实身份”接受采访的几位女性似乎反而无法直抒胸臆,谈话之间有所保留,因而真实与虚构、“局内”与“局外”人的界限模糊了起来,成为了相互交叉、难以分辨的存在。

影片除了呈现对历史与现实社会的反思与表达,还对真实与虚构、实时记录与表演再现的关系进行了巧妙处理,揭示和反思了纪录片包含的虚构性,因而成为反射型纪录片的代表作。同时,全片穿插着越南语诗歌、独白与画外音,以大量的语言邀请观众进入亲身感受、体会,自我思考的观影之旅。

《爱的故事》(1995年)是郑明河第一部叙事长片,描绘了在旧金山生活的越南移民Kieu的经历。本片以越南著名长诗《金云翘传》(《The Tale of Kiều》)(越南原名《断肠新声(Đoạn Trường Tân Thanh)》为灵感,通过女孩Kieu追求爱的的故事讨论了独立女性、身份认同等问题。《金云翘传》的女主角迫于封建社会动荡为家庭沦落风尘,而本片中生活在现代美国的Kieu也被夹在两种文化之间,在经济必要性和肉欲之间挣扎。偷窥癖贯穿始末构成了电影的一条主线,揭示了爱情故事中的爱情虚构和消费过程。郑明河将传统的叙事标准边缘化,用非自然主义的表演将现实、记忆、想象分层互动,超越了叙事电影和实验电影之间的界限,带来独特的体验。

About the Speaker 关于讲者

About the speaker

Feng Chao is an Associate Professor at the School of Oriental Languages, Shanghai International Studies University, Director of the Vietnamese Teaching and Research Department, and a member of the Shanghai Translators Association. His research interests include Sino-Vietnamese relations, Vietnamese history and Southeast Asian culture. He has published and co-edited several dictionaries and compilations, and has published more than 30 papers in academic journals at home and abroad. He has published several articles on current affairs in the Global Times, Xinmin Weekly and other news media.

冯超,上海外国语大学东方语学院副教授,越南语教研室主任,上海翻译家协会会员。研究兴趣:中越关系、越南史及东南亚文化。已出版、参编各类词典、编译著数种,在国内外学术期刊公开发表论文30余篇。在《环球时报》、《新民周刊》等新闻媒体发表多篇时政评论。

Trinh T. Minh-ha: Traveling in the Dark 郑明河:暗游