From museum aesthetics to everyday aesthetics: Narratives about Saigon in The Lover by Jean-Jacques Annaud and Bar Girls by Le Hoang

Abstract

Saigon is an urban area that has undergone many political and historical upheavals. This study focuses on aesthetic qualities in an examination of The Lover by Jean-Jacques Annaud and Bar Girls by Le Hoang, which together contrast the image of Saigon during two different periods. I argue that Annaud presents the image of a colonial Saigon from a perspective grounded in nostalgia and memories, utilizing the techniques of museum aesthetics to juxtapose western and eastern spaces. Meanwhile, Le Hoang highlights the contemporary city of Saigon, reflecting in his film the qualities of an everyday aesthetics.