Tai nghe để nghe trọn vẹn · best with headphones — phim được vẽ trực tiếp trong trình duyệt, không phải tệp video.
Chương 24 · Chapter 24
Nghiên cứu sinh ở МЭИС
Doctoral studies in Moscow
Nguyên văn chương 24 hồi ký của ông Trần Văn Sơn. Bản tiếng Anh dịch sát bên dưới mỗi đoạn. The full chapter as he wrote it, with an English translation under each paragraph.
Only what the chapter says. The tree grows as new chapters arrive. Portraits are drawn from family photos where we have them; the rest are imagined.
Dòng thời gian · Timeline
1979 – 1982
Doctoral years in Moscow, from chapter 24
Hiện vật · Artifacts
Ảnh và giấy tờ thật
Real photographs and documents from the family — tap one to see it full size
These are the family's own photographs and papers, not illustrations. Location and camera data were removed before publishing.
Ký ức · Fragments
Những thứ nhỏ còn nhớ mãi
Small things never forgotten — tap one to see it in the film
Thực hiện · Making of
Cách bộ phim được làm
A film with no video file
This chapter’s film is a small JavaScript program, like the chapters before it. Two real photographs are taped into it. The sound effects are synthesised in the browser. The two recorded tracks are the narration, in his own cloned voice for Vietnamese, and the score.
Câu chuyện · Story
Hồi ký Trần Văn Sơn, chương 24 “Nghiên cứu sinh ở МЭИС”
Kịch bản, dàn dựng, hoạt hình · Script, direction, animation
Claude (Anthropic), hand-coded canvas engine
Minh hoạ cắt dán · Collage illustration
Google Gemini 3 Pro Image, from family photos where we have them
Giọng kể · Narration
Tiếng Việt: giọng thật của ông, tái tạo bằng AI (F5-TTS) từ bản ghi âm ông đọc hồi ký · Vietnamese: his own voice, recreated with F5-TTS from a recording of him reading his memoir. English: Google Gemini 3.8 Flash TTS, voice “Algenib”.
Nhạc · Score
Google Lyria 3 Pro, three cues: đàn bầu, đàn tranh, felt piano, bamboo flute, strings
Âm thanh · Sound design
Synthesised live in the browser (WebAudio)
Bản dịch · Translation
Claude, kept close to his wording
Illustrations are an artistic re-imagining, not historical photographs. Names, dates and events come only from his memoir. The photo from Bashkiria and the professor’s portrait are real; the professor is drawn from his portrait, made younger. The woman he wrote to is not drawn here; she appears in the next chapter.