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Journal articles on the topic 'Censorship – Vietnam'

Author: Grafiati

Published: 28 July 2024

Last updated: 31 July 2025

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1

Quoc, Liem Bui. "Biographical film causing controversies: an analysis of Em va Trinh (2022)." Brazilian Journal of Development 10, no. 4 (2024): e68632. http://dx.doi.org/10.34117/bjdv10n4-009.

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This research delves into the contentious biographical film "Em va Trinh (2022)" to explore contemporary Vietnamese cinema's interaction with national narratives, sociopolitical tensions, and the evolving cultural landscape. Research Question 1 (RQ1) examines how the film addresses delicate historical figures and events, providing insights into how Vietnamese cinema grapples with the past and shapes collective memory. RQ2 investigates the catalysts behind the controversies surrounding the film, illuminating broader societal concerns and debates within modern Vietnam. Lastly, RQ3 analyzes the i

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2

Trinh, Duy. "Book Review: Censorship in Vietnam: A Brave New World by Thomas Bass." Journalism & Mass Communication Quarterly 95, no. 2 (2018): 523–25. http://dx.doi.org/10.1177/1077699018766514.

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3

Lu, Qianhua. "An Analysis of the Reasons for the Continuous Development of Vietnams Film Industry." Communications in Humanities Research 25, no. 1 (2024): 76–80. http://dx.doi.org/10.54254/2753-7064/25/20231869.

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In recent years, the Vietnamese entertainment industry has seen an increase exceeding the worlds average growth rate. The growth reflected the Vietnam governments long-term goal to build its cultural industry and entertainment industry from 2020 to 2030. The entertainment industry will include a broad range of interrelated industries that produce entertainment products and services, especially the film industry, which has seen significant growth throughout the years. To dive deeper into the development of Vietnams film industry, this study presents a comprehensive analysis of the drivers behin

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4

Painter, Chad, and Patrick Ferrucci. "‘Ask what you can do to the Army’: A textual analysis of the underground GI press during the Vietnam War." Media, War & Conflict 12, no. 3 (2019): 354–67. http://dx.doi.org/10.1177/1750635219836128.

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This study examined the normative roles of alternative media, focusing on how the underground GI press did or did not serve these roles during the Vietnam War. The researchers conducted a textual analysis of 22 underground GI newspapers published between 1967 and 1973. Four main themes emerged from the analysis: underground GI press writers were decidedly antiwar in the stories they covered and how they wrote about them; GI writers attempted to differentiate grunts from military and civilian leaders; GI writers attempted to build communities with other military personnel as well as civilians;

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5

Pellegrini, Ann. "Habeas Corpus: Behold the Body." TDR/The Drama Review 52, no. 1 (2008): 179–82. http://dx.doi.org/10.1162/dram.2008.52.1.179.

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This issue's Critical Acts focuses on “war and other bad shit” in terms of censorship, immigration, and art as a form of political protest and recovery. In “Habeas Corpus,” Ann Pellegrini uses Sally Field's censored Emmy-acceptance speech to exemplify the Bush administration's privatization of mourning as a means “to bind us to acts of fatal violence against an objectified and dehumanized ‘enemy.’” In her account of Luigi Nono's The Forest Is Young and Full of Life, Judy Lochhead examines the possibility of music as activism, noting how history is recycled from the Vietnam War to today. Willia

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6

Lochhead, Judy. "On Recent Performances of Luigi Nono's The Forest Is Young and Full of Life." TDR/The Drama Review 52, no. 1 (2008): 182–89. http://dx.doi.org/10.1162/dram.2008.52.1.182.

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This issue's Critical Acts focuses on “war and other bad shit” in terms of censorship, immigration, and art as a form of political protest and recovery. In “Habeas Corpus,” Ann Pellegrini uses Sally Field's censored Emmy-acceptance speech to exemplify the Bush administration's privatization of mourning as a means “to bind us to acts of fatal violence against an objectified and dehumanized ‘enemy.’” In her account of Luigi Nono's The Forest Is Young and Full of Life, Judy Lochhead examines the possibility of music as activism, noting how history is recycled from the Vietnam War to today. Willia

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7

Bowling, William, and Rachel Carrico. "Lakeviews: A Bus Tour As a Vehicle for Regrowth in New Orleans." TDR/The Drama Review 52, no. 1 (2008): 190–96. http://dx.doi.org/10.1162/dram.2008.52.1.190.

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This issue's Critical Acts focuses on “war and other bad shit” in terms of censorship, immigration, and art as a form of political protest and recovery. In “Habeas Corpus,” Ann Pellegrini uses Sally Field's censored Emmy-acceptance speech to exemplify the Bush administration's privatization of mourning as a means “to bind us to acts of fatal violence against an objectified and dehumanized ‘enemy.’” In her account of Luigi Nono's The Forest Is Young and Full of Life, Judy Lochhead examines the possibility of music as activism, noting how history is recycled from the Vietnam War to today. Willia

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8

Gómez-Peña, Guillermo. "Border Hysteria and the War against Difference." TDR/The Drama Review 52, no. 1 (2008): 196–203. http://dx.doi.org/10.1162/dram.2008.52.1.196.

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This issue's Critical Acts focuses on “war and other bad shit” in terms of censorship, immigration, and art as a form of political protest and recovery. In “Habeas Corpus,” Ann Pellegrini uses Sally Field's censored Emmy-acceptance speech to exemplify the Bush administration's privatization of mourning as a means “to bind us to acts of fatal violence against an objectified and dehumanized ‘enemy.’” In her account of Luigi Nono's The Forest Is Young and Full of Life, Judy Lochhead examines the possibility of music as activism, noting how history is recycled from the Vietnam War to today. Willia

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9

Surkova, Aleksandra S. "“Your Ivan Hersey”: John Hersey’s War Prose in the Soviet Union." Literature of the Americas, no. 18 (2025): 292–313. https://doi.org/10.22455/2541-7894-2025-18-292-313.

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The article explores the literary and journalistic work of the American writer John Richard Hersey (1914–1993). The main attention is paid to the little-studied period in the writer’s biography, when he, being a correspondent of Time magazine in the Soviet Union, faced censorship, restrictions and difficulties of interaction with the Soviet cultural environment. Based on archival materials (RGALI), correspondence with Konstantin Simonov, Soviet publications and translations of Hersey’s works, the duality of his perception in the USSR is revealed: on the one hand (during the war years) — as a “

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10

Rinaldi, Jake, and Brandon Tran. "China's Internal Security Cooperation with Socialist States." Asia Policy 20, no. 2 (2025): 127–42. https://doi.org/10.1353/asp.2025.a960046.

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executive summary: This essay examines China's cooperation with ideologically aligned single-party Leninist states, framed within the "community of a shared future for socialist countries." main argument China's deepening internal security cooperation with single-party Leninist states represents a formidable challenge to Western democracies, underscoring the need for pragmatic approaches to counter its growing influence. Drawing in part on open-source materials from Chinese academics and official policy documents, this analysis argues that China is using its "community of a shared future for s

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11

Evans, Raymond. "From Deserts the Marchers Come: Confessions of a Peripatetic Historian." Queensland Review 14, no. 01 (2007): 11–20. http://dx.doi.org/10.1017/s1321816600005857.

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The whole country was trapped in a lie … We were the only truthtellers, as far as we could see. It seldom occurred to us to be afraid. We were sheathed in the fact of our position. It was partly our naiveté which allowed us to leap into this position of freedom, the freedom of absolute right action. I wish I had said that. But it was written in 1988 by Casey Hayden, a female civil rights worker with the Student Nonviolent Coordinating Committee, or ‘Snick’, in the American South of the mid-1960s, remembering that horrific/heroic time of bombings and burnings. In Brisbane, a distant metropolis

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12

Malesky, Edmund. "Censorship in Vietnam: Brave New World. By Thomas A. Bass. Amherst: University of Massachusetts Press, 2017. ix, 228 pp. ISBN: 9781625342959 (paper, also available in cloth and as e-book)." Journal of Asian Studies 78, no. 1 (2019): 234–37. http://dx.doi.org/10.1017/s0021911818002899.

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13

Cầm, Nguyễn Nguyệt, та Peter Zinoman. "Interview with Trương Huy San (Huy Đức)". Journal of Vietnamese Studies 19, № 3-4 (2024): 64–123. http://dx.doi.org/10.1525/vs.2024.19.3-4.64.

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This interview with the Vietnamese journalist and author Huy Đức covers his life and work up to 2013. In addition to providing a detailed biography of this important figure, the interview sheds light on many critical issues in modern Vietnamese history: the rise and fall of the collective farm system, the role of the military as an avenue of social mobility, Vietnam’s wars with Cambodia and China during the 1970s and ’80s, the liberalization of Vietnamese journalism during the 1990s, the spread of Renovation-era corruption, the dynamics of state censorship, and the persecution of dissidents.

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14

Nguyen-Pochan, Thi Thanh Phuong. "La violence des médias vietnamiens à l’encontre des intellectuels critiques." Sur le journalisme, About journalism, Sobre jornalismo 10, no. 1 (2021): 98. http://dx.doi.org/10.25200/slj.v10.n1.2021.437.

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FR. Cet article examine la violence médiatique à l’égard de Đỗ Thị Thoan, l’auteure d’un master ès lettres intitulé « La position marginale : la performance poétique du groupe Ouvrir la bouche d’un point de vue culturel », soutenu avec succès en 2010 au sein de l’École normale supérieure de Hanoi. En 2013, son positionnement politique tombe dans le viseur des médias conservateurs qui ont orchestré une campagne de critique non seulement à l’encontre de l’auteure du mémoire et du groupe Ouvrir la bouche, mais aussi et surtout vis-à-vis des chercheurs universitaires, ceux qui ont soutenu le nouve

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15

Nguyen-Pochan, Thi Thanh Phuong. "La violence des médias vietnamiens à l’encontre des intellectuels critiques." Sur le journalisme, About journalism, Sobre jornalismo 10, no. 1 (2021): 98–111. http://dx.doi.org/10.25200/slj.v10.n1.2021.457.

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FR. Cet article examine la violence médiatique à l’égard de Đỗ Thị Thoan, l’auteure d’un master ès lettres intitulé « La position marginale : la performance poétique du groupe Ouvrir la bouche d’un point de vue culturel », soutenu avec succès en 2010 au sein de l’École normale supérieure de Hanoi. En 2013, son positionnement politique tombe dans le viseur des médias conservateurs qui ont orchestré une campagne de critique non seulement à l’encontre de l’auteure du mémoire et du groupe Ouvrir la bouche, mais aussi et surtout vis-à-vis des chercheurs universitaires, ceux qui ont soutenu le nouve

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16

Trinh, Minh. "Censorship of Online Newspaper in Vietnam Mapping the Battle Front." SSRN Electronic Journal, 2017. http://dx.doi.org/10.2139/ssrn.2994849.

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17

Tran, Richard Quang-Anh. "Banishing the poets: Reflections on free speech and literary censorship in Vietnam." Philosophy & Social Criticism, February 22, 2022, 019145372110736. http://dx.doi.org/10.1177/01914537211073626.

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The article examines the status of free speech in Vietnam in light of some of the explosive debates that have flared up in both the US and Europe. It argues that unlike in the West the Vietnamese case requires a critical defense to augment the space for free speech as such. To lead up to this conclusion, the essay looks at two case studies of literary censorship in Vietnam to demonstrate that, since the middle of the twentieth-century, literary speech has been synonymous with political speech. Given the limited space for political speech itself, the essay concludes by advancing a version of th

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18

Labbe, Danielle, Celia Zuberec, and Sarah Turner. "Creative hubs in Hanoi, Vietnam: Transgressive spaces in a socialist state?" Urban Studies, June 16, 2022, 004209802210863. http://dx.doi.org/10.1177/00420980221086371.

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Vietnam’s capital city has recently witnessed the emergence of a new type of cultural space akin to what have been labelled creative hubs in other contexts: that is, locales that foster creation, collaboration, community engagement and business development in the cultural sector. During the 2010s, Hanoi saw a proliferation of small-scale, art-oriented creative hubs, most of them community-led and developed without state funding. In a context marked by a government historically wary of contemporary and experimental arts, these spaces face various forms of state control ranging from the censorsh

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19

Han, Namhee. "Restrained excess in The Goboi Bridge (1970): Lee Man-hee’s self-censorship and the Vietnam War." Journal of Japanese and Korean Cinema, September 23, 2024, 1–15. http://dx.doi.org/10.1080/17564905.2024.2405283.

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20

Hope, Cathy, and Bethaney Turner. "The Right Stuff? The Original Double Jay as Site for Youth Counterculture." M/C Journal 17, no. 6 (2014). http://dx.doi.org/10.5204/mcj.898.

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On 19 January 1975, Australia’s first youth station 2JJ (Double Jay) launched itself onto the nation’s airwaves with a NASA-style countdown and You Only Like Me ‘Cause I’m Good in Bed by Australian band Skyhooks. Refused airtime by the commercial stations because of its explicit sexual content, this song was a clear signifier of the new station’s intent—to occupy a more radical territory on Australian radio. Indeed, Double Jay’s musical entrée into the highly restrictive local broadcasting environment of the time has gone on to symbolise both the station’s role in its early days as an enfant t

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