Please use this identifier to cite or link to this item: https://scholarbank.nus.edu.sg/handle/10635/215096
Title: MOVING BEYOND THE WOMEN IN RED: SEEKING A NEW GENDERED COUNTERPUBLIC THROUGH THE FEMALE CHARACTERS IN VIETNAMESE INDEPENDENT FILMS
Authors: LE KHUC HOANG UYEN
Issue Date: 11-Dec-2021
Citation: LE KHUC HOANG UYEN (2021-12-11). MOVING BEYOND THE WOMEN IN RED: SEEKING A NEW GENDERED COUNTERPUBLIC THROUGH THE FEMALE CHARACTERS IN VIETNAMESE INDEPENDENT FILMS. ScholarBank@NUS Repository.
Abstract: Vietnam as a socio-political background inherits powerful paradoxes when it comes to the governance of female identities and roles. Under two overlapping systems that contribute to contradictory constructions of gender in Vietnam—a Confucian and Socialist model, the state narratives of female identities and roles proliferate the image of a dual woman, who is expected to fulfil both their roles at home and at work. While this duality in female identities and roles may allow women to be more involved in the public sphere, the expectation of fulfilling the dual roles has put immense pressure on Vietnamese women, reducing them into a factor of labour and putting them into a position of exploitation rather than progression. This paper would analyse two independent movies, The Third Wife and Adrift as potential sites of contestation to challenge the state narratives of the dual woman. Through multimodal critical discourse analysis, the paper would investigate if female characters portrayed in these two movies are different from the framework of the dual woman outlined by the state rhetoric, and if this alternative portrayal of female identities and roles could offer a counterpublic to the current framework driven by the state narratives of female identities and roles. The analytical framework would be devised from Nancy Fraser’s theoretical lens of publics and counterpublics. The findings of the paper indicate that there exists an alternative portrayal of women such as the rebellious woman, the lustful woman, as well as a critique of the traditional dual woman and an opposition to women’s traditional caretaker roles. However, despite finding a possible alternative imagining of female identities and roles in these two movies, the conclusion is that they have not amounted to legitimate counterpublics, due to limitations within their process of creating and circulating the counterdiscourse.
URI: https://scholarbank.nus.edu.sg/handle/10635/215096
Appears in Collections:Bachelor's Theses

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