UNIVERSITY OF LANGUAGES & INTERNATIONAL STUDIES,

VIETNAM NATIONAL UNIVERSITY, HANOI

FACULTY OF LINGUISTICS AND CULTURES OF
ENGLISH-SPEAKING COUNTRIES

ASSIGNMENT COVER SHEET

COURSE NAME: LANGUAGE, CULTURE AND SOCIETY
INSTRUCTOR: VU THI PHUONG QUYNH

STUDENT’S NAME: NGUYEN THI BICH NGOC

STUDENT ID: 21041041
STUDENT EMAIL: mocna0703@gmail.com

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Abstract
The image of women has long become a familiar topic in Vietnamese cinema;
however, there is limited research that has an insight into women representation especially
in today’s modern society. This paper conducts a multimodal critical discourse analysis (CDA)
study on the women representation in the movie Hai Phuong (Furie) by Le Van Kiet and finds
that there is a shift toward Vietnamese cinema’s portrayal of women as well as a more
empowering of female masculinity in this day and age. This study could contribute to the
broader discourse on gender representation in cinema, providing valuable insights for
filmmakers, critics, and audiences about the portrayal of women in Vietnamese cinema and
its implications.

Keywords: women representation, multimodal CDA, portrayal, character, female

Part 1: Introduction

Vietnamese film often depicts women in a wide range of characteristics, frequently

associating them with gentleness, sensitivity, and sometimes vulnerability in matters of love,
marriage, and family life. As Nualart (2018) points out, the portrayal of Vietnamese women
is imbued with cultural norms that uphold traditional ideals: they are seen undertaking
unpaid domestic tasks and familial duties, making personal sacrifices, and representing
social rightness. The concept of sacrifice is intimately linked with the notion of femininity in
Vietnam. The impact of these values on the image of women can be observed through
several films such as The Scent of Green Papaya, and The Vertical Ray of The Sun…;
nevertheless, these films are somewhat dated and the socio-economic landscape in this day
and age has undergone remarkable changes, leading to a significant shift in the portrayal of
women. Despite these changes, there is a lack of comprehensive studies on how these
characters are represented. Therefore, this research aims to fill this gap by examining the
representation of women in “Hai Phuong” (Furie) from a multimodal critical discourse
analysis (CDA) perspective. The main research questions are:

“How women are represented in the movie “Hai Phuong” (Furie) by Le Van Kiet?

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 ”

Part 2: Literature review

CDA
As for CDA, it “focuses on social problems and especially on the role of discourse in the
production and reproduction of power abuse or domination” (van Dijk, 2001:96). CDA, then,
sets up a relationship between language and power. Thus, CDA establishes a connection
between language and authority. From this perspective, Wodak (2001) views it as
fundamentally involved in the examination of both clear and obscure structural relationships
of supremacy, bias, power, and control as they are expressed in language. Rogers (2004)
claims that Critical Discourse Analysis (CDA) stands apart from other discourse analysis
techniques because it not only provides a contextual description and interpretation of
discourse but also elucidates the mechanisms and reasons behind the functioning of
discourses. Fairclough and Wodak (1997, referenced in van Dijk, 1993) proposed eight
fundamental principles of CDA. Rogers (2004) views these principles as “a useful starting
point for researchers interested in conducting CDA." The basic principles of CDA are
summarized by Fairclough and Wodak. These include “CDA addresses social problems,"
“power relations are discursive," “discourse constitutes society and culture," “discourse
does ideological work," “discourse is historical," “the link between text and society is
mediated," “discourse analysis is interpretative and explanatory," and “discourse is a form of
social action” (Tannen et al., 2018, p. 353, as cited in Vu, 2023).

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Figure 1: Fairclough’s CDA modal

Female masculinity

In his 2019 work, Halberstam delves into the historical roots of women embodying
masculinity, not as a mere imitation of manliness but as a lively and diverse expression of
gender diversity. Instead of pathologizing these expressions, Halberstam aims to
comprehend them within the framework of gender identity. Through the lens of cinema,
Halberstam identifies instances where women participate in traditionally male activities like
boxing or where male actors take on female roles, thereby challenging standard perceptions
of femininity. Donaldson’s 2018 study investigates how female characters in films display
traditionally masculine characteristics such as physical strength, power, and a tendency
towards violence, often assuming roles similar to those of warriors. Goodwill (2011) extends
this discussion by suggesting that these depictions disrupt conventional gender norms by
presenting characters with feminine looks but masculine actions, thereby challenging
established ideas of femininity and masculinity.

Representation of Vietnamese females in cinema

Hall states that representation, which “connects meaning and language to a culture”
(1997, p. 5), is a part of creating and sharing meaning through language. Hence, female
representation is the production and transmission of what it means to be a female in a
culture. Moreover, language, being a representational system, can shape our worldview. The

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gendering of languages can affect our perceptions and may not only reflect but also amplify
the imbalance in societal and cultural roles of men and women (Prewitt-Freilino et al., 2012,
as cited in Vu, 2023).

Vietnamese films frequently depict women as submissive and compliant, contrasting

with the dominant patriarchal portrayal of men (Vy, 2015). This is shaped by the traditional
Confucian doctrine, which has significantly influenced the family structure in Vietnam. The
man is traditionally seen as the leader, making the final decisions on production, business,
and the allocation of household resources. A Vietnamese woman is traditionally expected to
follow “the three obediences'' (tam tòng), which include: (i) obeying her father as a
daughter; (ii) obeying her husband as a wife; and (iii) obeying her eldest son if her husband
has passed away (Bich, 1999; Tuyet & Thu, 1978, as cited in Vy, 2015). In rural areas, women
are typically restricted to domestic duties such as child-rearing and budget management.
Their influence is limited to significant issues like asset acquisition, property, housing, and
other decisions involving substantial financial resources (Anh, 1991; Liljestrom, 1991; Long,
2000).

In terms of the representation of Vietnamese women in other studies, Vy (2015)

presents the passivity of women within the context of Vietnamese cinema in her research.
The study aims to highlight the passive depiction of Vietnamese women in contrast to the
patriarchal image of men in both films. Additionally, Gray’s research (2018) uses film
examples from the late 1990s (immediately following the introduction of doi moi, or
economic renovation) to demonstrate how women came to symbolize Vietnamese resilience
and determination during a period of swift social and economic transformation.
Furthermore, Hamilton (2009) explores how films produced by both national studios and
private companies in modern Vietnam continue to mirror gender-related issues and the
challenges faced by young women in today’s urban settings. The study highlights the
persistent reflection of gender roles and sexual identities in these films, emphasizing the
ongoing struggles of young females in the current urban environment.

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Part 3: Methodology

● Data collection

The linguistic and visual factors, including the character's language use in different
situations, behavior, as well as facial expression, collected from the protagonist Hai Phuong
in the movie Furie (2019) will act as the data for the study. All the collected data are
analyzed based on Fairclough's CDA model (2001) and Kress and van Leeuwen’s framework
(1996).

● Data analysis (analytical method and framework)

The research used a multimodal approach, with the CDA model as the main
framework to analyze linguistics factors, incorporated with Kress and van Leeuwen’s
framework to analyze visual elements. Fairclough CDA model (2001) divided into three
stages of CDA which are description, interpretation and explanation. The systematic analysis
of linguistic features like vocabulary, grammar and textual structure are called the
description stage. While the interpretation stage not only considered discourse as a text but
also as a discursive practice, focusing on other elements such as speech act and
intertextuality. Explanation stage is “concerned with the relationship between interaction
and social context with the social determination of the process of production and
interpretation, and their social effect” as stated by Fairclough (1989, as cited in Zhang,
2013).
Kress and van Leeuwen framework (1996) are based on the functional linguistics of
Michael Halliday, including three metafunctions: ideational metafunction, interpersonal
metafunction and textual metafunction. The constructing of representations of the world
involves the ability of ideational metafunction, interpersonal metafunction related to the
creating relations between the participants in acts of communication, and lastly the ability
to arrange individual “representations-cum-interaction” into coherent texts that can be
recognized as types (T. van Leeuwen, 2006). All the linguistic and visual elements will be
analyzed individually with the CDA model of Fairclough (2001) and supported by the visual
grammar framework of Kress & van Leeuwen (1996).

Part 4: Findings and discussion

“Hai Phuong (Furie)” is an action film released in 2019 by director Le Anh Kiet about the
thrilling and tense journey of an ex-gangster and single mother, Hai Phuong (Ngo Thanh

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Van), who has to confront an international criminal network involved in kidnapping and
organ trafficking, led by the cruel boss Thanh Soi (Tran Thanh Hoa), to save her little
daughter named Mai (Mai Cat Vy). To save her child, Hai Phuong has only 14 hours to chase
the kidnappers and has to confront many hardened criminals, ready to eliminate anyone
daring to stand in their way. Hai Phuong’s journey to save her child becomes more and more
difficult and challenging when any small mistake could cost her and little Mai their lives.
Contributing to Hai Phuong’s journey to find her child are the clues revealed by the hidden
gangster Truc (Pham Anh Khoa) and the help of the brave, calm, and talented policeman
Luong (Phan Thanh Nhien). Besides the breathtaking chase and fight scenes, the film also
does not lack touching moments that bring tears to the audience through the great acting of
Ngo Thanh Van and Mai Cat Vi.

After thorough analysis, this study draws some findings as follows:

1. The image of modern female masculinity is presented through a normal mother

The film also catches up with global cinema’s trend of advocating for feminism.
Unlike Hollywood’s portrayal of strong women, which often involves physical perfection or a
mysterious past, Vietnamese cinema presents strength differently. The most powerful
women in Vietnamese films are mothers. The depiction of a heroic Vietnamese mother has
been an endless source of inspiration for filmmakers, especially when discussing Vietnamese
women during wartime. In times of peace, this image becomes more relatable and realistic,
yet it still embodies the traditional Vietnamese woman’s qualities: "Indomitable, Loyal,
courageous." Whenever there are adversities threatening to disrupt their lives, these
women can stand alone, bravely defending peace and their dignity. There is no need for
grand actions like saving the world or a glorious background; simply the image of a single
mother, ignoring all the gossip and overcoming social prejudice, focusing solely on making
ends meet to take care of her daughter, is enough. Furthermore, the image of female
masculinity is also depicted via female villain Thanh Soi, the head of a transnational child
trafficking line, kidnapping Hai Phuong's daughter. While Hai Phuong, the protagonist, is
often seen in traditional “ao ba ba” and flannel shoes, the antagonist, Thanh Soi, wears high
boots in most martial arts scenes. Thanh Soi’s gangster persona is emphasized with tattoos,

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large necklaces, and a stoic expression. Both characters display strong and decisive reactions
towards male characters in the film. Hai Phuong, a debt collector, intimidates her male
debtors, while Thanh Soi exerts control over her male subordinates.

Additionally, at the end of the Furie, Hai Phuong not only successfully rescued her
daughter but also assisted in dismantling an entire child trafficking network, liberating over
20 other children. She was praised and admired much like a hero who unexpectedly
accomplished a remarkable deed, a portrayal that is more commonly represented by men.
Besides, the film also reflects the global issue of kidnapping and organ trafficking. According
to the report at the "Symposium on improving the effectiveness of child trafficking
prevention and combat” held in Hanoi in 2018, there were a significant number of human
trafficking cases in Vietnam between 2011 and 2018. Over 7,000 victims were trafficked in
total, with a concern that they were children under 16.

Figure 2: The villain antagonist Thanh Soi in fight with Hai Phuong

Figure 3: Hai Phuong is being chased by a gangster

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Figure 4: Hai Phuong fights in the water

Figure 5: Hai Phuong in hospital after successfully saving her daughter and other kids

2. The image of Vietnamese women is presented through a maternal bond

In the early scenes, the life of a single mother and her daughter can be seen through
a simple dinner scene. Even though they do not use fancy words, the way the little girl
prepares fish for her mother, or how Hai Phuong, despite being clumsy at cooking, still tries
her best to do without letting Mai help so that she can focus on her studies, speaks louder
than words. On the journey to rescue her daughter, despite being beaten, bruised, and
nearly drowned, Hai Phuong never gives up, nor does she have a moment to show any signs
of weakness. She puts all her mental strength, resentment, and pain into action, racing
against the ticking clock. In the scene where Hai Phuong returns to her parents’ house,
begging her older brother to help save Mai, but being rejected and scolded as a bad mother,
Hai Phuong swears that, even if she has to die, she will definitely save her child. “I regret
being born. But being Mai’s mother is the most correct thing in my life."

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 Throughout the film, Hai Phuong’s character almost repeats the phrase “Give me
back, my child." In the fight scene between the “big sister,” Thanh Soi, Hai Phuong answers
fearlessly to her taunt, “You’ve done well to crawl here, but unfortunately, you’ve come to
the wrong place." “I might have come to the wrong place, but you’ve kidnapped the wrong
child." After that, she gathers all her remaining strength to defeat her daughter’s abductor.
Hai Phuong may have a fallen past, marked by smoking, fighting, and being clumsy in
relationships with people, but she remains a dedicated single mother. She conceals her
solitude and personal anguish to secure a better future for her child. Despite her limited
education, she consistently imparts valuable lessons to her daughter, such as resilience and
perseverance: “You must be able to take the pain and never give up.” That mother, who
wears a simple conical hat and “ao ba ba” every day, can also suddenly transform into a
woman who blocks cars, fights underwater, or utilizes any available objects as weapons to
protect her daughter.

Figure 6: Hai Phuong and daughter at dinner talking about career

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Figure 7: Hai Phuong in an argument with her brother after he refuses to help

Figure 8: Hai Phuong’s determination to rescue daughter at any cost

Figure 9: Hai Phuong response to Thanh Soi’s threat

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Figure 10: Hai Phuong found her kidnapped daughter on the train

3. The representation of women in today’s modern society, via the protagonist, Hai
Phuong

Right from the beginning of the movie Furie, the portrait of the protagonist Hai
Phuong appeared as an imperfect single mother, leaving behind her past as a rogue gangster
in the magnificent urban city of Saigon and fleeing to the Western River Delta, where she
worked as a debt collector to make ends meet. That job and past caused her and her
daughter Mai to be teased and despised by villagers and peers. Hai Phuong is far from the
typical family woman; she is clumsy in the kitchen, struggles to teach her child, and the only
thing she can pass on to Mai is courage and the ability to overcome fear. This makes Hai
Phuong’s character somewhat different from the traditional female characters in
Vietnamese cinema. For quite a long time, since the late 1990s, Vietnamese cinema in
general has continued the stereotype of women as patient, diligent, hard-working
individuals who endure suffering and personal loss. They are often portrayed as victims of
war, as seen in “Doi Cat” (1999) and “Ben Khong Chong” (2001), or victims of customs, as in
“Chuyen Cua Pao” (2005). They accept or bind themselves to the bonds of marriage, duties,
and marital morality without resentment, as depicted in “Trang Noi Day Gieng” (2008). They
follow the same tragic path and accept death, as shown in “Mien Ky Uc” (2021).
Moreover, the language used by the protagonist is informal and even rude, a stark
contrast to the gentle language typically used by women on screen. However, it would be
incorrect to say that Hai Phuong is a character with male traits. Rather, due to her

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circumstances, living conditions, and survival needs, she adapts, and her personality
becomes stronger and more masculine. Yet, beneath this toughness, the qualities of a
woman still shine through, like the maternal bond.

Figure 11: Hai Phuong’s gangster past in Saigon

Figure 12: Hai Phuong’s job as a debt collector

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Figure 13: Hai Phuong teaching her daughter to be brave

Figure 14: Hai Phuong’s life motto

Part 5: Conclusion

This study investigated women's representation in the movie “Hai Phuong” (Furie) by
Le Van Kiet by mainly analyzing the protagonist, Hai Phuong. The data was analyzed using a
multimodal CDA approach that considered the visual and linguistic elements within the
movie. The findings showed a shift in Vietnamese cinema’s portrayal of women, emphasizing
their female masculinity through the role of a mother. The maternal bond was highlighted as
a symbol of motivation and endless love. The protagonist, Hai Phuong, represented a new
image of a female character on screen: imperfect but strong and fiercely protective of her
child. The film also addressed social issues like human trafficking, reflecting its importance to
society. A trend towards a more empowering representation of women in Vietnamese
cinema, mirroring the changing roles of women in modern Vietnam, was also indicated in
the findings.

The findings suggest that throughout the film, the image of the main character is
portrayed extremely strongly with hard language use as well as fierce martial arts scenes;
thus, it might be a mistake to attach Hai Phuong with male traits since she adapted to
become tougher and more masculine due to survival needs and adversities, but under that
exterior, the feminine still manifests like a motherly love towards her child.

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