View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Oregon Scholars' Bank REPRESENTATION OF VIETNAM IN VIETNAMESE AND U.S. WAR FILMS: A COMPARATIVE SEMIOTIC STUDY OF CANH DONG HOANG AND APOCALYPSE NOW by NGUYET NGUYEN A THESIS Presented to the School ofJournalism and Communication and the Graduate School ofthe University ofOregon in partial fulfillment ofthe requirements for the degree of Master ofArts December 2009 11 "Representation ofVietnam in Vietnamese and U.S. War Films: A Comparative Semiotic Study of Canh Dong Hoang and Apocalypse Now," a thesis prepared by Nguyet Nguyen in partial fulfillment ofthe requirements for the Master ofArts degree in the School of Journalism and Communication. This thesis has been approved and accepted by: Dr. H. Leslie Steeves, Chair ofthe Examining Committee --....... \)CL, \ ) Date Committee in Charge: Dr. H. Leslie Steeves, Chair Dr. Pat Curtin Dr. Gabriela Martinez Accepted by: Dean ofthe Graduate School iii © 2009 Nguyet Nguyen IV An Abstract ofthe Thesis of Nguyet Nguyen for the degree of Master ofArts in the School ofJournalism and Communication to be taken December 2009 Title: REPRESENTATION OF VIETNAM IN VIETNAMESE AND U.S. WAR FILMS: A COMPARATIVE SEMIOTIC STUDY OF CANH DONG HOANG AND APOCALYPSE NOW Approved: _---'\ _ Dr. H. Leslie Steeves This comparative semiotic study aims to examine and critically compare the portrayal ofthe Vietnam War in two award-winning films, one Vietnamese and the other American, both made in 1979: Canh Dong Hoang (The Wild Rice Field) and Apocalypse Now. This study employs semiology to examine the two films in the framework ofpost- colonial, ideology and hegemony theories to critically compare similarities and differences in the two films' portrayal of"the enemy," nationalism and individualism, and women, in order to understand how dominant perspectives ofthe times are reflected, reinforced, and challenged. In Apocalypse Now, the "other" is faceless, which reflects an imperialistic standpoint toward the Vietnamese people; nationalism is promoted by calling on individual suffering and sympathy; and women are diminished. Canh Dong v Hoang gives "the enemy" a more balanced depiction; nationalism is woven naturally with individualism; and the women in the film playa much more significant role. VI CURRICULUM VlTAE NAME OF AUTHOR: Nguyet Nguyen PLACE OF BIRTH: Vietnam DATE OF BIRTH: 24, July, 1980 GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University ofOregon, Eugene Academy for Journalism and Communication, Hanoi, Vietnam Institute for International Relations, Hanoi, Vietnam DEGREES AWARDED: Master ofArts in Communication and Society, 2009, University ofOregon Bachelor ofArts in Print Media, 2005, Academy for Journalism and Communication Bachelor ofArts in International Economics, 2002, Institute for International Relations AREAS OF SPECIAL INTEREST: Communication and Society, Media Studies, International Politics, Gender Development, Development Communication, Sustainability Studies PROFESSIONAL EXPERIENCE: Teacher (full-time), Academy for Journalism and Communication, 2003-2007 Teacher (part-time), Institute for International Relations, 2003-2007 Freelance Journalist, 2003-present Interpreter, Translator, Project Coordinator, various employers, 200 I-present VB GRANTS, AWARDS AND HONORS: Fulbright Scholarship, University ofOregon, 2007-2009 Research Fellowship, Asian Political and International Studies Association, Kuala Lumpur, December, 2004 Best performance prize, Halong High School for Gifted Students, Vietnam, 1998 V111 ACKNOWLEDGMENTS I wish to express sincere appreciation to Dr. H. Leslie Steeves, who has provided me with guidance and invaluable feedback throughout the writing ofthis thesis; to Dr. Pat Curtin and Dr. Gabriela Martinez for helping me form the initial approach to the topic and develop the content ofthe thesis, as well as for their comments and revisions in the final stage. I also feel deeply grateful for the help from Dr. Virginia Greasley, my former university teacher, who generously assisted me with the editing and provided me with abundant encouragement during the process. I would also like to thank the technical assistants ofthe School of Journalism and Communication who were always there when I need technical help. I am thankful for the contribution from all ofmy colleagues and classmates, who expressed their interest in the topic and offered helpful suggestions. Finally, I would like to dedicate this thesis to my partner, Kevln D. Penn, for his firm and constant support, who never hesitated to listen to my concerns about the thesis, and would do his best to help me overcome them. IX To Virginia. x TABLE OF CONTENTS Chapter Page 1. INTRODUCTION . II. CONTEXT OF THE RESEARCH 6 The Vietnam (or American) War........................................................................ 6 Current Relationship between Vietnam and the United States 9 The Vietnam War Fihns..................................................................................... 10 The Contexts in Which the Two Films Were Made 11 Notes 12 III. THEORETICAL FRAMEWORK AND LITERATURE REVIEW.................... 13 Theoretical Framework...................................................................................... 13 Hegemony and Ideology.............. 13 Post-colonial Studies 17 Neorealism 20 Literature Review 21 Research Questions................................ 27 Notes 29 IV. METHODOGICAL DISCUSSION 30 Semiology Theories 32 Signifier and Signified 33 Xl Chapter Page Oppositional Structure 34 Connotation and Denotation .. 34 Dominant Codes and Dominant Ideology .. 35 Visual Semiotics . 37 Self-reflexivity . 38 Limitations ofMethod . 39 V. OVERVIEW OF THE TWO FILMS .. 41 Apocalypse Now . 41 Canh Dong Hoang . 43 General Comparisons . 45 Termination Mission . 45 Depiction ofHelicopters . 47 Surrealism . 50 Military and Government Involvement .. 52 Notes . 53 VI. RESULTS AND DISCUSSION .. 54 The Faceless Enemy . 54 Nationalism and Individualism . 73 Portrayal of Women . 97 l"l"otes 110 XlI Chapter Page VII. CONCLUSION 113 BIBLIOGRAPHY 120 CHAPTER I INTRODUCTION In early 2008, the National Geographic Channel aired a documentary film about the Vietnam-United States War. This "new" documentary film raised concerns and angry reactions from many scholars and well-informed citizens ofboth countries because it addressed only how the War was fought. The reasons for the War and its consequences were not examined. In fact, the War with the United States cost the Vietnamese 21 years to reunify their country, more than two million dead soldiers, millions ofdead civilians, and millions ofwar victims, including Agent Orange and landmine victims, whose numbers keep growing every day. The War is not yet over, but these lasting issues were not mentioned in that three­ hour documentary film. Since the United States and Vietnam normalized diplomatic ties in 1995 and Vietnam has integrated more into the international arena and global market, the United States is playing an increasingly important role in the development ofVietnam (it has always played a role in Vietnam's recent history, but now, it's more direct). Therefore, a better understanding is crucial for both countries. Studying the War is central to this understanding because ofmany reasons: historical, social, political, and academic. 2 As a citizen ofVietnam coming to the University ofOregon to do a master's degree on a U.S. government scholarship, my initial intent for my finaIthesis was that I would not do anything related to the Vietnam War. My puerile mind was convinced that it was now time to leave the past behind; people in my country had suffered enough; this War had been well looked at from many angles in this country; and that American people did not want to have anything to do with it any more. I, however, was wrong. The haunting memories ofthe War are still a lived experience for many people I encounter both on and offcampus, both in Oregon and in many major cities in the United States I have visited, such as Seattle, San Francisco, New York, Washington D.C., and Philadelphia. My impression is that there remain quite a few myths about Vietnam and the Vietnam War. I have been asked by the people I met questions such as, "Do Southern people still hate NOlthern people?" "Can you go study abroad even ifyou are from North Vietnam?" "Is the war still going on there?" "Do you have any family members fighting in the War?" "Are you a communist?" Those questions do not only show their interest in and their limited understanding ofthe War but also trigger strong emotions in me. The feeling was particularly strong when I was treated with hostility by Southern Vietnamese people who fled the country to come here more than 30 years ago. I realize that it is impossible for me to "leave the past behind" because the War hasn't become a past, not only to me but also to the majority ofthe Vietnamese. In the United States, because the media stopped talking about it doesn't mean it is over. If ordinary people still talk about it, see its consequences, and feel the loss and pain from it, 3 it means the War is still felt and affecting their lives. The U.S. government seemed to hastily shut down and evaded the topic, as if wanting to sweep everything underneath the carpet and pretend the War never happened. Yet, just like a wound not being treated but bandaged by many layers of fabric, it looks fine but is aching inside. The U.S. government waged a war in Vietnam with a clear