Vietnam in the global media: a critical reflection

Nguyen Ngoc Kum Phuc, a student at Swinburne Hanoi, explores global perspectives on Vietnam.

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Cultural identity or a distorted image?

Cultural representation in media not only reflects the identity of a nation but also shapes how the world perceives that nation. In the context of globalization and the rapid development of multimedia communication, cultures are no longer confined by national borders; they are presented, received, and redefined through mass media channels. However, the question arises: does media truly reflect the cultural identity of a nation, or is it merely a distorted image influenced by commercial, political, and foreign cultural stereotypes? This study analyzes how Vietnam is represented in global and domestic media while evaluating the impact of that representation on my personal perception as a Vietnamese person. By applying academic theories on media, culture, and identity, this essay will clarify the role of media in constructing discourse about nations and its effects on social psychology. The analysis will focus on three aspects of my media consumption—documentaries, books, and social media—to illustrate how power mechanisms and discourse shape the image of Vietnam in a global context.

The Theory of Cultural Representation in Media

Anthropologist Ralph Linton (1945) defines culture as "a learned, shared, and transmitted behavior structure within a specific society." His research emphasizes the differences among cultural groups in terms of personality and activity, while recognizing that culture is learned, shared, and developed across generations. Linton also argues that culture shapes important values and qualities, allowing for comparisons among cultures through behavioral patterns and influencing social norms such as prejudices and worldviews. Hall et al. (2024) propose that representation is not just about describing reality but also a process of meaning-making. According to them, media does not reflect the world objectively but reconstructs it through sign codes and power discourse. Thus, representation is never neutral; it is always influenced by power and ideology. Said (1977) in Orientalism expands on this view by arguing that the West has constructed an image of the East as an "Other" entity—mysterious, backward, and in need of civilizing. The process of "Othering" describes how the West creates distinctions between "us" and "them" through exoticization, romanticization, or belittling Eastern cultures (Thomas-Olalde & Velho, 2011). This leads to biases in media, where countries like Vietnam are framed in commercial or politicized images, rather than a multidimensional cultural identity (Nguyen-Thu, 2018). Antonio Gramsci's (1971) concept of Cultural Hegemony helps explain how media powerhouses impose Western values and ideologies, overshadowing the voices of other cultures (Femia, 1975). This process is reinforced by media content control, where producers decide what is emphasized or excluded, thereby shaping social perception according to foreign standards (McCombs, 1977).

The Representation of Vietnam in International Media

Documentaries are a significant part of my media consumption habits. I often watch them on Netflix, YouTube, and at international film festivals. However, as a Vietnamese person, I find that international media rarely presents a comprehensive picture of Vietnamese culture. Western films primarily revolve around two themes: the Vietnam War and tourism, while other important aspects such as contemporary culture, economic innovation, technology, and urban life are often overlooked or superficially addressed (Nguyen-Thu, 2018). For example, films like Good Morning, Vietnam (1987) or Indochine (1992) depict Vietnam as a land of war, poverty, and submission. Even in modern films like Kong: Skull Island (2017), which promotes tourism, the portrayal of Vietnam is limited to beautiful landscapes, lacking cultural depth and signs of contemporary life. This is a prime example of the phenomenon known as "cultural flattening"—where a culture is simplified to the point of retaining only superficial images. Nevertheless, as I explored more books and novels, some recent works have attempted to change this bias. The Sympathizer by Viet Thanh Nguyen—a Pulitzer Prize-winning novel in 2016—exemplifies the multidimensional and complex representation of Vietnamese culture. The narrative follows a communist soldier working undercover in South Vietnam who later immigrates to the U.S., reflecting sharp perspectives on war while exploring the internal conflicts of Vietnamese people in the context of migration (Prabhu, 2018). Works like The Sympathizer help break down stereotypes and create space for forgotten voices. For me, reading The Sympathizer was not only a literary experience but also a way to gain deeper insights into Vietnamese history and culture, as well as the challenges Vietnamese people face in a globalized context. According to McCombs' (1977) agenda-setting theory, media holds power in selecting, reinforcing biases, or ignoring social issues through the choice and presentation of information. This has influenced how I perceive myself and how others perceive me, making me feel the need to prove my worth in a society where my culture is undervalued.

Cultural Representation in Domestic Media: Issues and Challenges

While international media tends to exoticize Vietnam, domestic media faces the issue of cultural commercialization. An interview by journalist Thanh Truc (2009) regarding the impact of the Hallyu wave in Vietnam indicates that Vietnamese youth increasingly consume Korean content over domestic cultural products. The success of Hallyu is a prime example of how a country can use media to export culture. The South Korean government has actively invested in the creative industry while tightly controlling how its culture is represented globally (Kwon & Kim, 2013). In contrast, Vietnam has yet to develop a systematic strategy to promote its culture through international media, resulting in its image being dominated by external perspectives. This leads to cultural mixing, but it also raises the question: Is Vietnamese culture being "lost" in its own media space? And how can we balance learning from international trends and preserving cultural identity?

Personal Impact and Cultural Perception

Growing up in this media environment, I have always had to ask myself: Am I receiving an accurate portrayal of my own culture? When watching international films about Vietnam, I see a country that feels alien compared to the reality I live in. Meanwhile, when following domestic media, I notice increasingly strong influences of foreign culture. This contradiction makes me more aware of the role of media in shaping both personal and collective identity. Despite the limitations of mainstream media in representing Vietnamese culture, a study by Tham and Matthew (2012) indicates that social media has become an important platform for Vietnamese people to control and reshape how they are perceived internationally. For instance, YouTube channels like Khoai Lang Thang and Nino’s Home have helped present a more authentic image of Vietnamese life, cuisine, and people to a global audience. Similarly, artists like Suboi have used music to express a modern perspective of the Vietnamese youth, breaking away from traditional molds. Meanwhile, Ròm—the first Vietnamese film to win the top prize at the Busan Film Festival—provides a realistic glimpse into urban life and the people left behind in the process of economic development. This demonstrates that when Vietnamese people tell their own stories, they can create globally relevant products while still retaining cultural identity.

The responsibility to challenge

Cultural representation in media not only affects how a nation is perceived internationally but also influences internal perceptions of identity. Vietnam needs a proactive strategy from both the government and the creative community to enhance its global voice. Leveraging digital media, learning from successful models, and challenging Western discourses are crucial steps toward building a more accurate and stronger image. Responsible media can help create a diverse and comprehensive portrayal of Vietnamese culture.

References

Femia, J. (1975). Hegemony and Consciousness in the Thought of Antonio Gramsci. Political Studies, 23(1), 29–48. https://doi.org/10.1111/j.1467-9248.1975.tb00044.x

Hall, S., Nixon, S., & Evans, J. (2024). Representation: cultural representations and signifying practices. SAGE Publications Limited.

Kwon, S., & Kim, J. (2013). The cultural industry policies of the Korean government and the Korean Wave. International Journal of Cultural Policy, 20(4), 422–439. https://doi.org/10.1080/10286632.2013.829052

Linton, R. (1949). The personality of peoples. Scientific American, 181(2), 11–15. McCombs, M. (1977). Agenda setting function of mass media. Public Relations Review, 3(4), 89–95.

Nguyen-Thu, G. (2018). Television in Post-Reform Vietnam: Nation, media, market. Routledge.

Prabhu, A. (2018). The Sympathizer: A Dialectical Reading. PMLA/Publications of the Modern Language Association of America, 133(2), 388–395. https://doi.org/10.1632/pmla.2018.133.2.388

Said, E. W. (1977). ORIENTALISM. The Georgia Review, 31(1), 162–206. http://www.jstor.org/stable/41397448

Tham, J., & Matthew, B. (2012). Media Perspectives: How Social media Reshape consciousness.

Thanh Trúc. (2009, February 22). Giới trẻ Việt Nam và xu hướng Hàn Quốc. Tiếng Việt. https://www.rfa.org/vietnamese/in_depth/Why-are-vietnamese-teens-fond-of-korean-f ashion-and-movies-ttruc-02222009100355.html

Thomas-Olalde, O., & Velho, A. (2011). Othering and its effects–Exploring the concept. Writing Postcolonial Histories of Intercultural Education, 2, 27–51.