{"title":"4. Gender, Nation and Spatial Mobility in On Top of the Wave, on Top of the Wind","authors":"Quí-Hà Hoàng Nguyễn","doi":"10.1515/9789048541904-007","DOIUrl":null,"url":null,"abstract":"This chapter examines women’s mobility as presented in Vietnamese\n revolutionary cinema in its heyday following the Gulf of Tonkin incident\n (in 1964). Focusing on Ngọc Quỳnh’s On Top of the Wave, on Top of the\n Wind, it argues that this film offers a timely reflection upon the reality\n of fighting and the labour of the Vietnamese people in the American\n War. Through the film’s spatial narrative and visuality of cultural and\n physical geography, the filmmaker conflates nation and home, blurring\n the separation of domestic and public spaces and creating a national/\n familial space for both sexes. Yet while this narrative invokes patriotism\n and mobilizes women’s participation in the national struggle, it also limits\n women’s agency and subjectivity after the war.","PeriodicalId":210445,"journal":{"name":"Southeast Asia on Screen","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2020-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Southeast Asia on Screen","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1515/9789048541904-007","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
This chapter examines women’s mobility as presented in Vietnamese
revolutionary cinema in its heyday following the Gulf of Tonkin incident
(in 1964). Focusing on Ngọc Quỳnh’s On Top of the Wave, on Top of the
Wind, it argues that this film offers a timely reflection upon the reality
of fighting and the labour of the Vietnamese people in the American
War. Through the film’s spatial narrative and visuality of cultural and
physical geography, the filmmaker conflates nation and home, blurring
the separation of domestic and public spaces and creating a national/
familial space for both sexes. Yet while this narrative invokes patriotism
and mobilizes women’s participation in the national struggle, it also limits
women’s agency and subjectivity after the war.