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I see the new CCTV cameras that have been installed at all intersections of the city and in the smallest streets and alleys over the last five years. I see the same propaganda posters that have occupied the same location since I began to conduct anthropological research in Saigon in the s.
What I see is not the apocalypse. I see an image of traffic in this iconic intersection in front of Reunification Palace renamed Independence Palace since that brings to mind traffic in I am at once transported back in time and propelled into the future. What will happen next?
When will this pandemic stop? When will the loud, choking traffic resume again and the aggressive new car drivers return? Hotels and restaurants were closed and the Vietnamese government finally suspended flights into Vietnam at the end of March Foreign tourists in fact kept visiting Vietnam until the end of March. Cruise ships docked or were turned back in confusing episodes.
What is missing in this picture are groups of foreign, mostly white, European, Australian, and American tourists walking down these streets, sweating and panting in the brutal heat, followed by street sellers proposing cold water and trinkets. These billboards went up quickly in February and March across the city and the entire country.
Robert, April 30, Younger artists also joined the effort and contributed their work, as is visible on the left panel. Red, which symbolizes both the revolution and more traditionally, warmth, success, and life itself, contrasts with the white mask which is the punctum of this image Barthes, The billboard is rebus-like.
We find here the usual performative speech of propaganda, and the metonymies and synecdoches by which each person in a poster becomes a figure representing a segment of the population.
When represented in groups, these figures embody The People. She is quite different from the figure on the right: here a female nurse, herself in a face mask, scrubs, and protective head gear tells you with friendly yet firm professional authority to wear a mask continually and wash your hands properly in order to struggle and fight against COVID The same key theme of struggle and fighting repeats, emphasized in the red tones that here symbolize both emphasis and danger, as in viruses.
The pedagogic image of hand washing is recycled from numerous public health campaigns by the government and international NGOs to teach proper hand washing to children, especially, to reduce risk of disease transmission. These images are rekindled in the context of this pandemic. They convey the message by looking at you and drawing you to them, in the absence of the identifying features of a full human face.
One fundamental aspect of these billboards is that, when asked, Vietnamese say they do not see them and do not pay attention to them. Billboards have been placed at this location since the s and probably longer, in front of a modernist school building, on one of the major intersections of the city.
Billboards are changed regularly throughout the year to mark the anniversaries of major revolutionary events and to stress political campaigns against crime or drug use. The repetition of similar anniversaries using the same images and styles, and the same formulaic language and slogans, year after year, render these political billboards invisible.
People tune them out. Here, in an almost undetectable shift in meaning and function, these are public service or public health announcements.
And yet they use the same political language of mobilization, are posted by the same government offices here the Ministry of Health , and remain equally invisible. One can query the supposed invisibility of this propaganda by noticing that in prime locations of the city some much larger billboards are used alternatively for government messages and for advertising.
The invisibility and lack of attention that people assert remains an open question, especially when similar messages and images are relayed constantly in media that are all state-controlled in Vietnam — and reappear in social media in forums and discussions.
Yet here too significant changes and new realities are visible. Author: Robert C. Some of the non-essential shops are shuttered or empty. Compared to the usual crowding in this market, when motorbike riders weave and push their way through crowds of vehicles in the maze of lanes and alleys, this registers visually as a mid-morning scene of low activity.
In street markets, as here, riders simply stop by a shop or by goods displayed directly on the ground. They make their way through the market and make purchases without dismounting and without turning the ignition off, before moving on.
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