- Copyright Page
- Contributors
- Introduction: The Communist Vision Today
- Socialist Domestic Infrastructures and the Politics of the Body: Bucharest and Havana
- Architecture in Series: Housing and Communist Idealism
- Restating Classicist Monumentalism in Soviet Architecture, 1930s–early 1950s
- Esfir Shub’s <i>K.Sh.E.</i> (1932) and the Movement of Energy
- Soviet Wall Newspapers: Social(ist) Media of an Analog Age
- Red Stars, Biorhythms, and Circuit Boards: Do-It-Yourself Aesthetics of Computing and Computer Games in Late Socialist Czechoslovakia
- Machines, Nations, and Faciality: Cultivating Mental Eyes in Soviet Books for Children
- Who Doesn’t Like Aleksander Kobzdej?: A State Artist’s Career in the People’s Republic of Poland
- “How-To” Make Art in Communist China: Professionalizing Amateur Artists
- Visions and Visualization of Sustainability: Leningrad Designers in Search of Soviet Recycling System, 1981–1984
- Shaping the Avant-Garde: The Reception of Soviet Constructivism by the American Art Journal <i>October</i>
- The Time Lag of <i>Defa-Futurum</i>: A Socialist Cine-Futurism from East Germany
- The Visitation of the Idea: Badiou on Film and Communism
- In the Name of Internationalism: The Cinematic Memorialization of Norman Bethune in Socialist China
- Listening between the Images: African Filmmakers’ Take on the Soviet Union, Soviet Filmmakers’ Take on Africa
- Brothers at War: The Images of Prison S-21 (Tuol Sleng) in the Framework of Intracommunist Conflicts
- The Constructivist Sartorial Utopia and Its Revolutionary Potential: Then and Now
- “Socialist Realist” Critiques of Neoliberal “Shock Therapy”: East German Artists Respond to the 1973 Putsch in Chile
- Beauty and Quality for All: A Vision of Fashion under Cuban Socialism
- Disappearing from the Picture?: Female Figures in Pattern Books of the Mao Years
- The Subject Who Knows: Photographers and the Photographed in the Late East Germany
- Two Worlds: Boris Efimov, Soviet Political Caricature, and the Construction of the Long Cold War
- The Lyrical Subversions of Socialist Realism in Đặng Nhật Minh’s New Wave Cinema
- The Montage Connection between John Heartfield and László Lakner: Artistic Resistance and a New Leftism in Sixties Europe
- Visual Regimes of <i>Juche</i> Ideology in North Korea’s <i>The Country I Saw</i>
- Television and the Good Times of Socialism
- Futures Remembered: Kosmonauts, the GDR, and the Retrospective Impulse
- Contesting the Cuban-Soviet Visual Rhetoric for the Present
- Komunistki: Visual Memory of Female Communist Agency
- Specters of Europe and Anticommunist Visual Rhetoric in Romanian Film of the Early 1990s
- Lenin in Los Angeles: Counter-Memories, Recycling Socialism
- Coda: Flashes of Arab Communism
- Index
Abstract and Keywords
This article looks at the career and work of a prominent Vietnamese film director, Đặng Nhật Minh. By taking a closer look at his film When the Tenth Month Comes, this article challenges the Cold War perception of communist art as a mere servant to politics and ideology, with little aesthetic ambition beyond its didactic and propagandist duty. It explores Minh’s use of lyricism as an effective tool of subversion and means to assert his autonomy as a communist artist. It is through the lyrical that the film director reaches back to the core of Vietnamese cultural identity and ancient traditions to provide a poetic affirmation of the resilience of his nation’s culture, while mobilizing a sense of belonging and loyalty to the communist project.
Keywords: Vietnam, Vietnamese film, the Cold War, communism, visual cultures, socialist realism, lyricism, Đặng Nhật Minh
Dana Healy, Senior Lecturer in Vietnamese Studies, SOAS University of London
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- Copyright Page
- Contributors
- Introduction: The Communist Vision Today
- Socialist Domestic Infrastructures and the Politics of the Body: Bucharest and Havana
- Architecture in Series: Housing and Communist Idealism
- Restating Classicist Monumentalism in Soviet Architecture, 1930s–early 1950s
- Esfir Shub’s <i>K.Sh.E.</i> (1932) and the Movement of Energy
- Soviet Wall Newspapers: Social(ist) Media of an Analog Age
- Red Stars, Biorhythms, and Circuit Boards: Do-It-Yourself Aesthetics of Computing and Computer Games in Late Socialist Czechoslovakia
- Machines, Nations, and Faciality: Cultivating Mental Eyes in Soviet Books for Children
- Who Doesn’t Like Aleksander Kobzdej?: A State Artist’s Career in the People’s Republic of Poland
- “How-To” Make Art in Communist China: Professionalizing Amateur Artists
- Visions and Visualization of Sustainability: Leningrad Designers in Search of Soviet Recycling System, 1981–1984
- Shaping the Avant-Garde: The Reception of Soviet Constructivism by the American Art Journal <i>October</i>
- The Time Lag of <i>Defa-Futurum</i>: A Socialist Cine-Futurism from East Germany
- The Visitation of the Idea: Badiou on Film and Communism
- In the Name of Internationalism: The Cinematic Memorialization of Norman Bethune in Socialist China
- Listening between the Images: African Filmmakers’ Take on the Soviet Union, Soviet Filmmakers’ Take on Africa
- Brothers at War: The Images of Prison S-21 (Tuol Sleng) in the Framework of Intracommunist Conflicts
- The Constructivist Sartorial Utopia and Its Revolutionary Potential: Then and Now
- “Socialist Realist” Critiques of Neoliberal “Shock Therapy”: East German Artists Respond to the 1973 Putsch in Chile
- Beauty and Quality for All: A Vision of Fashion under Cuban Socialism
- Disappearing from the Picture?: Female Figures in Pattern Books of the Mao Years
- The Subject Who Knows: Photographers and the Photographed in the Late East Germany
- Two Worlds: Boris Efimov, Soviet Political Caricature, and the Construction of the Long Cold War
- The Lyrical Subversions of Socialist Realism in Đặng Nhật Minh’s New Wave Cinema
- The Montage Connection between John Heartfield and László Lakner: Artistic Resistance and a New Leftism in Sixties Europe
- Visual Regimes of <i>Juche</i> Ideology in North Korea’s <i>The Country I Saw</i>
- Television and the Good Times of Socialism
- Futures Remembered: Kosmonauts, the GDR, and the Retrospective Impulse
- Contesting the Cuban-Soviet Visual Rhetoric for the Present
- Komunistki: Visual Memory of Female Communist Agency
- Specters of Europe and Anticommunist Visual Rhetoric in Romanian Film of the Early 1990s
- Lenin in Los Angeles: Counter-Memories, Recycling Socialism
- Coda: Flashes of Arab Communism
- Index