Considering prior findings that confirm Japanese comics' significance on the gender discourse, as... more Considering prior findings that confirm Japanese comics' significance on the gender discourse, as well as the absence of studies on this topic in Vietnam, this research aims to explore the influence of manga on Vietnamese female readers in the way they perceive their gender role through semi-structured interviews with 6 female participants, who are heavy consumers of manga and aged 20.
Social Cognitive theory is used as the framework analysis, in which the readers' behaviour is formed by the interaction amongst (1) manga-the environmental factor, (2) readers-the personal determinant and (3) audience's action of learning from manga. The result shows that manga has a variety in gender representation, which gives readers more room for identification and thus, they become emotionally engaged and influenced by the traits/behaviour of the characters. This has come to reinforce the influence of manga in shaping readers' perception/behaviour and further reveals new gap that needs advanced studies in the future.
The media plays a crucial part in the process of nation-building for it helps to send a message t... more The media plays a crucial part in the process of nation-building for it helps to send a message to a target audience, during its course influence their perceptions and decision making, resulting in a change in behaviour. The purpose of this essay is to prove the contribution of the media in national development through the case study of Japanese cinema.
The methodology of this study will be threefold. First, there will be examples to verify that after the defeat in 1945, the theme of ‘victimisation’ has become common in Japan. I will also scrutinize some statistics concerning the exposure of Japanese cinema to validate its impact in shaping ‘the victim’s consciousness’. Second, I conduct some in-depth analysis of how this perception is represented in Japanese films. Third, I look at the challenges of this representation in the digital age as Japanese are becoming increasingly exposed to global opinions towards/narrations of the war.
Hence, this analysis demonstrates how Japanese cinema – through its theme of ‘victimisation’ – has contributed to create a unified identity for the Japanese in the post-war period as well as how this identification is being challenged by the increasing information transmission in the digital age.
In this information age, ‘soft power is what Japan would come to be most identified with’ (Napier... more In this information age, ‘soft power is what Japan would come to be most identified with’ (Napier, SJ 2007). Its culture of anime - which is signified as a source of soft power - has had a great influence on the international scale, especially on the Western society. This analysis demonstrates how Japanese anime practices - as a cross-cultural communication - has contributed to the globalizing of America as well as break the binary opposition in Edward Said’s Orientalism, leading to the changing of the image of Japan in America: not an exotic Asia anymore but a combination of both the Self and the Other.
This thesis examines video art as activism in the backdrop of single-party Vietnam, where interna... more This thesis examines video art as activism in the backdrop of single-party Vietnam, where internally, the Communist government implements strict censorship over arts that do not align with its nationalistic narratives, while externally, the global art market favors artistic portrayals of the countries as either a war-torn nation or an exotic Orientalist land. It was from such context that the issue of ethical memory emerges, particularly how the country could be remembered in a way that does justice for the forgotten, the oppressed and the excluded. Under the influence of those in power trying to craft homogenous collective memory of Vietnam, local artists have attempted to resist against forgetting(s) and being forgotten.
Based on existing research looking at this interventionist attribute of Vietnamese Contemporary Art, as well as personal experience of video art in Vietnam, the author arrives at the hypothesis that Vietnamese video art also contribute significantly to this movement. With the research question of how Vietnamese artist have employed video art to challenge the established collective memories of Vietnam, this paper aims to explore further using a mixed method approach: literature review to analyse the sociopolitical context of Vietnam and the artwork’s context of production; alongside textual / discourse analysis, personal observation so as to break down the metaphorical meanings of the artwork as well as the memories-representation the artists supports and/or questions.
This thesis suggests that the artpiece serves as a site for activism, whereby artists insert their personal memories and call into question collective memories of Vietnam, particularly through three modes of resistance: (1) giving agency to suppressed voices, (2) deconstructing and reconstructing narratives and (3) questioning the state’s modernization. The author argues that rather than a downright rejection of established memories made promoted by the local government and global art market, the selected artwork but adds alternative memories of the country, fosters consciousness towards what has been forgotten, and further contribute to what Việt Thanh Nguyễn termed ‘a double ethical memory’.
Considering prior findings that confirm Japanese comics' significance on the gender discourse, as... more Considering prior findings that confirm Japanese comics' significance on the gender discourse, as well as the absence of studies on this topic in Vietnam, this research aims to explore the influence of manga on Vietnamese female readers in the way they perceive their gender role through semi-structured interviews with 6 female participants, who are heavy consumers of manga and aged 20.
Social Cognitive theory is used as the framework analysis, in which the readers' behaviour is formed by the interaction amongst (1) manga-the environmental factor, (2) readers-the personal determinant and (3) audience's action of learning from manga. The result shows that manga has a variety in gender representation, which gives readers more room for identification and thus, they become emotionally engaged and influenced by the traits/behaviour of the characters. This has come to reinforce the influence of manga in shaping readers' perception/behaviour and further reveals new gap that needs advanced studies in the future.
The media plays a crucial part in the process of nation-building for it helps to send a message t... more The media plays a crucial part in the process of nation-building for it helps to send a message to a target audience, during its course influence their perceptions and decision making, resulting in a change in behaviour. The purpose of this essay is to prove the contribution of the media in national development through the case study of Japanese cinema.
The methodology of this study will be threefold. First, there will be examples to verify that after the defeat in 1945, the theme of ‘victimisation’ has become common in Japan. I will also scrutinize some statistics concerning the exposure of Japanese cinema to validate its impact in shaping ‘the victim’s consciousness’. Second, I conduct some in-depth analysis of how this perception is represented in Japanese films. Third, I look at the challenges of this representation in the digital age as Japanese are becoming increasingly exposed to global opinions towards/narrations of the war.
Hence, this analysis demonstrates how Japanese cinema – through its theme of ‘victimisation’ – has contributed to create a unified identity for the Japanese in the post-war period as well as how this identification is being challenged by the increasing information transmission in the digital age.
In this information age, ‘soft power is what Japan would come to be most identified with’ (Napier... more In this information age, ‘soft power is what Japan would come to be most identified with’ (Napier, SJ 2007). Its culture of anime - which is signified as a source of soft power - has had a great influence on the international scale, especially on the Western society. This analysis demonstrates how Japanese anime practices - as a cross-cultural communication - has contributed to the globalizing of America as well as break the binary opposition in Edward Said’s Orientalism, leading to the changing of the image of Japan in America: not an exotic Asia anymore but a combination of both the Self and the Other.
This thesis examines video art as activism in the backdrop of single-party Vietnam, where interna... more This thesis examines video art as activism in the backdrop of single-party Vietnam, where internally, the Communist government implements strict censorship over arts that do not align with its nationalistic narratives, while externally, the global art market favors artistic portrayals of the countries as either a war-torn nation or an exotic Orientalist land. It was from such context that the issue of ethical memory emerges, particularly how the country could be remembered in a way that does justice for the forgotten, the oppressed and the excluded. Under the influence of those in power trying to craft homogenous collective memory of Vietnam, local artists have attempted to resist against forgetting(s) and being forgotten.
Based on existing research looking at this interventionist attribute of Vietnamese Contemporary Art, as well as personal experience of video art in Vietnam, the author arrives at the hypothesis that Vietnamese video art also contribute significantly to this movement. With the research question of how Vietnamese artist have employed video art to challenge the established collective memories of Vietnam, this paper aims to explore further using a mixed method approach: literature review to analyse the sociopolitical context of Vietnam and the artwork’s context of production; alongside textual / discourse analysis, personal observation so as to break down the metaphorical meanings of the artwork as well as the memories-representation the artists supports and/or questions.
This thesis suggests that the artpiece serves as a site for activism, whereby artists insert their personal memories and call into question collective memories of Vietnam, particularly through three modes of resistance: (1) giving agency to suppressed voices, (2) deconstructing and reconstructing narratives and (3) questioning the state’s modernization. The author argues that rather than a downright rejection of established memories made promoted by the local government and global art market, the selected artwork but adds alternative memories of the country, fosters consciousness towards what has been forgotten, and further contribute to what Việt Thanh Nguyễn termed ‘a double ethical memory’.
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Social Cognitive theory is used as the framework analysis, in which the readers' behaviour is formed by the interaction amongst (1) manga-the environmental factor, (2) readers-the personal determinant and (3) audience's action of learning from manga. The result shows that manga has a variety in gender representation, which gives readers more room for identification and thus, they become emotionally engaged and influenced by the traits/behaviour of the characters. This has come to reinforce the influence of manga in shaping readers' perception/behaviour and further reveals new gap that needs advanced studies in the future.
The methodology of this study will be threefold. First, there will be examples to verify that after the defeat in 1945, the theme of ‘victimisation’ has become common in Japan. I will also scrutinize some statistics concerning the exposure of Japanese cinema to validate its impact in shaping ‘the victim’s consciousness’. Second, I conduct some in-depth analysis of how this perception is represented in Japanese films. Third, I look at the challenges of this representation in the digital age as Japanese are becoming increasingly exposed to global opinions towards/narrations of the war.
Hence, this analysis demonstrates how Japanese cinema – through its theme of ‘victimisation’ – has contributed to create a unified identity for the Japanese in the post-war period as well as how this identification is being challenged by the increasing information transmission in the digital age.
Based on existing research looking at this interventionist attribute of Vietnamese Contemporary Art, as well as personal experience of video art in Vietnam, the author arrives at the hypothesis that Vietnamese video art also contribute significantly to this movement. With the research question of how Vietnamese artist have employed video art to challenge the established collective memories of Vietnam, this paper aims to explore further using a mixed method approach: literature review to analyse the sociopolitical context of Vietnam and the artwork’s context of production; alongside textual / discourse analysis, personal observation so as to break down the metaphorical meanings of the artwork as well as the memories-representation the artists supports and/or questions.
This thesis suggests that the artpiece serves as a site for activism, whereby artists insert their personal memories and call into question collective memories of Vietnam, particularly through three modes of resistance: (1) giving agency to suppressed voices, (2) deconstructing and reconstructing narratives and (3) questioning the state’s modernization. The author argues that rather than a downright rejection of established memories made promoted by the local government and global art market, the selected artwork but adds alternative memories of the country, fosters consciousness towards what has been forgotten, and further contribute to what Việt Thanh Nguyễn termed ‘a double ethical memory’.
Social Cognitive theory is used as the framework analysis, in which the readers' behaviour is formed by the interaction amongst (1) manga-the environmental factor, (2) readers-the personal determinant and (3) audience's action of learning from manga. The result shows that manga has a variety in gender representation, which gives readers more room for identification and thus, they become emotionally engaged and influenced by the traits/behaviour of the characters. This has come to reinforce the influence of manga in shaping readers' perception/behaviour and further reveals new gap that needs advanced studies in the future.
The methodology of this study will be threefold. First, there will be examples to verify that after the defeat in 1945, the theme of ‘victimisation’ has become common in Japan. I will also scrutinize some statistics concerning the exposure of Japanese cinema to validate its impact in shaping ‘the victim’s consciousness’. Second, I conduct some in-depth analysis of how this perception is represented in Japanese films. Third, I look at the challenges of this representation in the digital age as Japanese are becoming increasingly exposed to global opinions towards/narrations of the war.
Hence, this analysis demonstrates how Japanese cinema – through its theme of ‘victimisation’ – has contributed to create a unified identity for the Japanese in the post-war period as well as how this identification is being challenged by the increasing information transmission in the digital age.
Based on existing research looking at this interventionist attribute of Vietnamese Contemporary Art, as well as personal experience of video art in Vietnam, the author arrives at the hypothesis that Vietnamese video art also contribute significantly to this movement. With the research question of how Vietnamese artist have employed video art to challenge the established collective memories of Vietnam, this paper aims to explore further using a mixed method approach: literature review to analyse the sociopolitical context of Vietnam and the artwork’s context of production; alongside textual / discourse analysis, personal observation so as to break down the metaphorical meanings of the artwork as well as the memories-representation the artists supports and/or questions.
This thesis suggests that the artpiece serves as a site for activism, whereby artists insert their personal memories and call into question collective memories of Vietnam, particularly through three modes of resistance: (1) giving agency to suppressed voices, (2) deconstructing and reconstructing narratives and (3) questioning the state’s modernization. The author argues that rather than a downright rejection of established memories made promoted by the local government and global art market, the selected artwork but adds alternative memories of the country, fosters consciousness towards what has been forgotten, and further contribute to what Việt Thanh Nguyễn termed ‘a double ethical memory’.