Arts and Culture
The study of landscapes and collective memory has drawn much attention from scholars because of the blur of national borders in the period of globalization. Landscape studies uncovers cultural and historical codes in order to inquire into the collective memory that the filmmakers would like to convey to the community. Both Indochine (1992) and The Lover (1992) settings were shot in Vietnam during the French colonial period, evoking imagery of Vietnam from the non-local point of views. Indochine is a love story between a Vietnamese girl and a French soldier while The Lover is a love story between a French teenage girl and a Chinese wealthy businessman in the Vietnamese landscape. Thus, landscapes play significant roles in delineating imagery of Vietnam, although the filmmakers’ point of views could be different from the historical-cultural landscapes experienced by domestic audiences. Besides, as both films were released in the year 1992, examining their description of landscapes will also reveal the Vietnamese and French historical-social contexts at that time.
This research will discuss the reconstruction of the colonial landscapes and memories of the colonial Vietnam on the screen by the French filmmakers, through that providing insights into the Vietnamese identity and cultural traumas of colonialism.
Keywords: landscape, collective memory, cultural traumas, Indochine (1992), The Lover (1992), colonial Vietnam, French colonial period