The author is dead, cried the vocal few. The author is a commie, cried some anti-Communist Vietnamese in America. Valverde’s chapter on culture production highlights how some individuals and groups in this diaspora utilized art exhibitions and media, such as Yen’s Nguoi Viet Daily, to contribute to and even expand the narrative of the community. Instead of embracing these different perspectives, Valverde notes how many protest them due to fear, especially one of destabilizing a homogenous, if stagnant, cultural/political identity. Speaking of, Hall discusses cultural identity as a “production” of culture, formed “within representation” or culturally/socially constructed (222). His definition of an identity as a highly heterogeneous construction, as shown in his case study of black cinema, seems to show a conflation of identity and culture production. A possible example of this and the interethnic tensions is a popular anime, Demon Slayer, which spurred censorship over the depiction of the Rising Sun flag. Within the Korean and Chinese diasporas, to name a few, some protested the imperialist image while others viewed this issue as trivial. Question: Valverde describes the victims of the anticommunist fervor as “[uniquely] exuberant” (Valverde 108); how so?
Image: An anime where the earrings were censored in some countries due to the Rising Sun flag, spurring discourse in multiple diasporas.
Works Cited:
Kieu-Linh Valverde. “Defying and Redefining Diasporic Art and Media as Seen through Chau Huynh’s Creations.” Transnationalizing Viet Nam.
Stuart Hall. “Cultural Identity and Diaspora.”
Image Source: https://www.kotaku.com.au/2019/04/anime-demon-slayer-kimetsu-no-yaiba-changed-slightly-as-not-to-offend/
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