Assess the Roles of Film Development Policy in the Field of
Vietnamese Cinema
NGUYEN THI ANH QUYEN
Cultural and Arts Management Faculty
Hanoi University of Culture
418 La Thanh St, Dong Da district, Hanoi city
VIETNAM
https://huc.edu.vn
Abstract: - Film development policy as well as other public policies are identified as tools for social
management and administration of each country and each local. This policy covers a wide range of contents in
many specialized fields of activity and plays a variety of roles in the country's social development
administration. In this study, the author focuses on analyzing the role of film development policy through the
two most basic contents of each public policy, and in this case: Directing and development regulating the role
of cinema; Attracting subjects' participation role for cinematography. The research objective is to analyze and
properly evaluate the actual situation and the role of cinema development policy in the development of
Vietnamese cinema in the current period. By qualitative research method (through the synthesis of secondary
documents) combined with quantitative research method (through surveying opinions of 170 managers of 21
film organizations in Vietnam). The author draws this research conclusion: Vietnam's film development policy
has not yet promoted its role in attracting subjects' participation to develop cinema. These research findings are
not only meaningful for the author in professional activities but also provide more scientific information for
policy-making activities in the field of cinema in Vietnam.
Key-Words: Policy; Roles; Development; Orientations; Regulations; Attracting subjects’ participation; Cinema;
Vietnam.
Received: April 28, 2021. Revised: March 22, 2022. Accepted: April 24, 2022. Published: May 23, 2022.
1 Research Introduction
The film development policy of Vietnam is mainly
expressed through the Law on Cinematography [21]
and the cinema development strategy [22]. In these
documents, the role of policy is expressed quite
clearly in all aspects like orienting, regulating the
development of cinema and aspects attracted
subjects’ participation which is: “Building an
advanced Vietnamese film industry, imbued with
national identity, composing many works of
ideological, educational, aesthetic and entertainment
value, achieving high socio-economic efficiency, by
regulations, in the direction of literary and artistic
development of the Party and State in the new period.
Developing Vietnamese film towards modernity and
international integration. The State creates a legal
corridor and equal opportunities for organizations and
individuals to participate in the development of the
film career. Stepping up the socialization of
cinematographic activities, encouraging social
resources to invest in material and technical
foundations for cinema development; expanding the
film market and international cooperation in the field
of cinema”.
Assessing the development of Vietnam's cinema
in the 2006-2021 period, many researchers and
managers have also pointed out that regarding the
policy goals, little has been achieved; The result of
the role of policy has not met the original
expectation [11], because Vietnam “has not yet
developed appropriate and synchronous mechanisms
and policies to develop the film industry; The policy
on promoting socialization of cinematic activities
has not yet attracted domestic and foreign
individuals, organizations and businesses to
participate…” [12]. From that fact, it is very
necessary to study and evaluate the role of film
development policy and is the content that the
author focuses on in this research.
2 Research Overview
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In the field of research, film development policy is
a term used to refer to “the institutional support that
channels both aesthetic creativity and collective
ways of life – a bridge between the aesthetics and
the anthropological” [10, 15]. Further explaining
this
approach, some other researchers emphasize that
cultural policy is expressed through systematic and
directive guidelines for action, taken by agencies to
achieve the goals [18, 8]. These research
perspectives tend to be governance and
administrative, whereby film development is
bureaucratic rather than creative or organic, and
"through the implementation of policies,
organizations attract, train, create, distribute,
financially support, depict or disclaim individuals
and activities related to artists and works of art” [1].
In the field of management, film development
policy is understood as the public policy of a
country, first of all, cultural policy is a system of
State regulations expressed in documents to manage
film activities [16, 5]. Film development policy in
particular, cultural policy in general is taken to
mean “a body of operational principles,
administrative and budgetary practices, and
procedures which provide a basis for cultural action
by State" [20]. With this approach, UNESCO asserts
that a cultural policy as well as film development
policy cannot be suitable for all countries; Each
country determines its film development policy
according to its cultural values, goals, and choices.
So for each country, cultural policy, and film
development policies have different important roles
in the management and development of culture,
depending on the cultural values and the goals that
the country pursues.
Discussing the role of film development policy,
many contents were confirmed in the management
of social development. However, within the scope
of this research, the author focuses on analyzing the
role of film development policy, which is confirmed
by many researchers through basic aspects and
inherited by the author to carry out its research
objectives, which are: The role of orientation and
regulation of cinema development; The role of
engaging subjects for cinematography development
[9, 14, 3, 1].
2.1 The Role of Guiding and Regulating
Cinema Development (GR)
In the form of a country's public policy, film
development policy as well as other socio-economic
policies are "expressed in the form of a normative
law promulgated by competent state agencies and
uniformly implemented within the country and
region; orienting and regulating the socio-economic
development of the country and the region” [14].
This role is demonstrated when the film
development policy meets the requirements:
- GR1. Determining the goals of cinema
development under national cultural traditions and
development trends of contemporary society,
modernization, and international integration. With
this goal, the film development policy will orient
creative cinema activities to both serve the national
political tasks and meet the requirements of
integration development according to the movement
trend of the domestic society and international.
- GR2. Determining the content of cinema
development by the country's history and culture
and the audience's enjoyment needs. This is the
content that shows a clear orientation, whereby film
organizations can determine the scope of activities
and creativity to both preserve the national cultural
identity and meet the market demand in the region,
and the political and social goals of the State.
- GR3. Moderating and adjusting the activities of
film organizations in an appropriate form to develop
these organizations following the general plan on
the network of national and local film organizations.
This role clearly shows the impact value, mainly the
administrative impact of film development policy on
film organizations to fulfill the objectives of state
management, to establish and maintain stability and
development for film organizations in particular,
and the system of arts and culture organizations in
general.
Both theory and practice show that to orient and
regulate cinema development, it is necessary to
involve the State and stakeholders through planning,
promulgating, and implementing film development
policies. Regulating through a system of film
development policies “to achieve established
cinema development goals; at the same time
promote the positivity, overcome the limitations in
the process of cinema development; contribute to
creating balances in the development of cinema”
[2]. Film development policy with the role of
guiding and regulating the development of cinema
"not only focuses on the majority group, but also
pays attention to minorities and marginalized
groups, allocates resources appropriately; balancing
according to the objectives and orientations of the
State on cultural development; limiting cultural
development trends that are not conducive to the
general development of society through control,
censorship, licensing, and sanctioning activities”
[13]. Performing this role, film development policy
will contribute to the reconciliation of conflicts and
problems arising in the process of cultural and film
development, such as conservation and sustainable
development, culture and cinema integration, but
not entirely dissolving, integrating to shine.
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2.2 The Role of Attracting Subjects’
Participation in Cinema Development (AP)
Attracting the participation of social subjects
(people and social organizations) is one of the
important tasks in national and local development
governance, demonstrating “the interaction between
people, social organizations and government
agencies in formulating and implementing public
policies” [19]. This is also the basic goal that every
public policy needs to achieve, confirmed by many
researchers [14], reflected in some main contents as
follows:
- AP1. Mobilizing social resources for cinema
development. The general trend of national and
local governance in each country is to mobilize the
participation of many social subjects to build a
model of "small state, large society". For the
implementation of a public policy, there will be
many stakeholders affected (directly, indirectly) to
different degrees according to the principle of "the
state and society win-win and develop together".
Therefore, the participation of social subjects is
maximally mobilized by the State and in the field of
cinema as well, many countries including Vietnam
call this mobilization "socialization of cinema
development".
- AP2. Harmoniously and rationally allocating
social resources and benefits in the development of
cinema. Film development policy is a conscious,
consultative, and adjusted activity; it is not only a
management tool but also a regulatory tool for
development. In the arts field, film development
through regulatory mechanisms is a harmonious and
rational allocation of resources in society for the
development of professional activities. The State
plays the role of controlling and allocating resources
in society to achieve the overall goal of cinema
development, in specific periods.
- AP3. Creating incentives for social subjects to
participate in and benefit from the policies of
cinema development. Many subjects will be
mobilized to participate in cinema development, but
to promote the participation of stakeholders, film
development policies need to set out principles and
regulations to balance and harmonize the needs and
interests of all parties involved. This is the principle
of balance of interests in state governance that is
being widely applied. And in the film industry, this
balance of interests is planned and adjusted in such
a way that parties can participate in investment
development, operation, creation, production,
distribution and commodity approach, cultural
values, etc. in a balanced way. This will create an
impetus for stakeholders to participate in the
country's cinematic development policy process.
If the roles are performed well, film development
policies will not only fulfill political and state
management objectives but also be a factor that
positively affects the development of the film
industry in each country. Although in each country,
the development of cinema (CD) has its measures,
specific to the characteristics and cultural values of
the ethnic groups of that country, some of the most
basic is affirmed [4, 6, 17], which are: (CD1)
Modern development, rich in national identity;
(CD2) Development with many works of
ideological, educational, aesthetic, entertainment
value, achieving high socio-economic efficiency;
(CD3) Development of national cinema in line with
the world's cinema development trend.
From the above theoretical content, the author
builds the research scales and research models that
evaluate the role of policy in the development of
cinema, shown in Table 1, Figure 1 below.
Table 1. Research theoretical framework
No.
Scales
Level
1
2
3
4
5
1
The role of
orientation and
regulation in
cinema
development (GR)
GR1. The goal of cinema development
under national cultural traditions and
development trends of contemporary
society, modernization, and international
integration
GR2. The content of cinema development
by the history, culture of the country, and
the audience's enjoyment needs
GR3. Developing film organizations under
the general plan on the network of national
and local film organizations
2
The role of
AP1. Mobilizing social resources to
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attracting subjects’
participation in
cinema
development (AP)
develop cinema
AP2. Harmonious and rational allocation of
social resources and benefits in the
development of cinema
AP3. Social subjects are allowed to
participate in and enjoy common benefits
from cinema development policies
3
Cinema
development (CD)
CD1. Cinema development in the direction
of modernity, rich in national identity
CD2. Cinema development with many
works of ideological, educational, aesthetic,
and entertainment value, achieving high
socio-economic efficiency.
CD3. National cinema development under
the world's cinema development trend
Source: Author synthesized, developed from the results of the overview research
Research model
Research hypothesis
H1: Film development policy plays the role of
orienting and regulating the development of cinema.
H2: Film development policy plays a role in
attracting the participation of subjects to develop
cinema.
3 Research Methodology
The author uses the qualitative method (collection,
analysis of secondary data - published documents)
combined with the quantitative method (collection
and analysis of primary data in the form of
investigations and surveys).
3.1 Qualitative Method
The construction of a research theoretical
framework and research model is carried out based
on an overview of related studies. Accordingly, the
author collects and analyzes published documents
and distills key research contents into the scales as
summarized in Table 1. Besides, the qualitative
research is also carried out through synthesis and
analysis of written opinions of Vietnamese cultural
managers to realize the practical role of cultural
policy in the field of cinema.
3.2 Quantitative Method
From the overview of research on the role of film
development policy, the research scales are
determined including 02 independent variables with
6 observed variables and 01 dependent variables
with 03 observed variables. The author designed a
survey consisting of 9 questions and 9 observed
variables. All observed variables are measured using
a 5-level Likert measure: 1 - Strongly disagree; 2 -
Disagree; 3 - No comments; 4 - Agree; 5 - Strongly
agree (Table 1).
The investigation and survey are carried out in
two steps: Preliminary investigation and formal
investigation.
- Preliminary investigation: With a total of 9
observed variables in the research scales and
models, the minimum research sample size needed
The role of orientation and
regulation in cinema development
(GR)
The role of attracting subjects’
participation in cinema
development (AP)
Cinema development
(CD)
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is N = 9 * 5 = 45 [6]. The author surveyed a sample
size of N = 50 (N > 45) film organization managers
in Hanoi. Preliminary survey results show that the
observed variables are reliable so that they can be
used in the official survey on a broader scale.
- Formal investigation: The author conducted an
official survey in 3 big cities representing 3 regions
of Vietnam, including Hanoi City (Northern region),
Da Nang City (Central region), and Ho Chi Minh
City (South). These are areas with the most film
organizations in Vietnam. The people surveyed are
those with at least 3 years of management
experience. The survey was officially conducted
with the consent of the respondents after the author's
preliminary interview. The survey results are 170
people agreeing to answer and 166/170 valid answer
sheets, achieving a valid response rate of 97.6%.
The survey sample characteristics show that the
majority (131/166, 78.9%) of the survey
respondents have more than 5 years of management
experience (Table 2).
Table 2. Statistical characteristics of the survey sample
Time * Age * Gender Crosstabulation
Gender
Age
Total
< 30
30-40
> 40
Male
Time
3-5 years
Count
5
16
21
% Time
23.8%
76.2%
100.0%
6-10 years
Count
39
39
% Time
100.0%
100.0%
> 10 years
Count
19
19
% Time
100.0%
100.0%
Total
Count
5
55
19
79
% Time
6.3%
69.6%
24.1%
100.0%
Female
Time
3-5 years
Count
2
12
14
% Time
14.3%
85.7%
100.0%
6-10 years
Count
29
19
48
% Time
60.4%
39.6%
100.0%
> 10 years
Count
1
24
25
% Time
4.0%
96.0%
100.0%
Total
Count
2
42
43
87
% Time
2.3%
48.3%
49.4%
100.0%
Total
Time
3-5 years
Count
7
28
35
% Time
20.0%
80.0%
100.0%
6-10 years
Count
68
19
87
% Time
78.2%
21.8%
100.0%
> 10 years
Count
1
43
44
% Time
2.3%
97.7%
100.0%
Total
Count
7
97
62
166
% Time
4.2%
58.4%
37.3%
100.0%
Source: Author’s survey result
4 Research Findings
4.1 Manager’s Assessment of the Role of
Vietnamese Film Development Policy
In 2021, the Ministry of Culture, Sports and
Tourism of Vietnam conducts summaries and
evaluations of the implementation of the "Law on
Cinematography” and "Strategy for cinema
development to 2020, vision to 2030". The review
and summary have shown a complete picture of the
development of cinema and the role of film
development policy [11, 12]. The evaluation results
show that:
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- Firstly, with the role of guiding and regulating
the development of cinema, film development
policy has made important contributions in orienting
political and ideological education and improving
aesthetics, meeting the people's demand for cultural
and artistic enjoyment. State apparatus organization
of the film industry has been consolidated and
perfected from the central to the local level, creating
synchronization and unity in the management of
film production, distribution, and dissemination.
This result further confirmed the goal of developing
cinema by national cultural traditions and
development trends of contemporary society,
modernization, and international integration; The
content of cinema development is suitable per the
history and culture of the country and the audience's
enjoyment needs; Developing film organizations by
the general planning on the network of national and
local cinema organizations.
- Secondly, with the role of attracting the
participation of subjects to develop cinema, film
development policies in the field of cinema have
contributed to the development of national culture
and arts, turning culture into a spiritual foundation,
goals, and motivations of the country's socio-
economic development; has been creating a driving
force to attract domestic economic sectors to
participate as well as attract foreign enterprises to
invest in cinema. The growth and dynamism of
private enterprises have positively impacted the
development of the film market, forming a
generation of young, enthusiastic, talented
filmmakers who can preserve, inherit and promote
the national cultural tradition, while being capable
of international integration.
With the promotion of the role, the film
development policy has contributed to improving
the spiritual life of the people and has gradually met
the demand for cultural enjoyment in general and
cinema in particular. In addition, the impact of the
promulgated policy has created the development of
cinema in the direction of modernity, rich in
national identity, with many works of ideological,
educational, aesthetic, and entertainment value,
achieving high socio-economic efficiency; in line
with the world's film development trend.
Despite achieving basic results and goals,
Vietnam has not yet developed appropriate and
synchronous mechanisms and policies to develop
the film industry. Many localities have not taken the
initiative to increase resources and promote their
strengths in cinema investment and development,
especially for film dissemination establishments that
belong to Film Distribution and Screening Centers
of the State. The policy on promoting the
socialization of film activities has not yet attracted
many domestic and foreign individuals,
organizations, and businesses, so many films
ordered by the State do not fulfill their goals (Table
3). This shows the limitation of film development
policy in attracting the participation of social
subjects to develop national cinema.
Table 3. Statistical results of accomplishing Vietnam cinema developing strategy goals to 2020, vision to
2030
No.
Film category
2015
2020
Target
(films/
year)
Result
(films/
year)
Evaluation
Target
(films/
year)
Result
(films/
year)
Evaluation
1
State-made television
drama
25-30
41
Completed
40-45
36
Not completed
State-ordered television
drama
8-10
7
Not
completed
10-12
2
Not completed
2
State-made
documentaries
12-24
36
Completed
36-48
75
Completed
State-ordered
documentaries
12-24
36
Completed
30-40
75
Completed
3
State-made scientific
films
12-24
4
Not
completed
36-48
7
Not completed
State-ordered scientific
films
12-24
4
Not
completed
30-40
7
Not completed
4
State-made animation
12-24
15
Completed
36-48
21
Not completed
State-ordered animation
12-24
15
Completed
30-40
21
NotCompleted
Source: Author’s computation from Report No. 279/BC-BVHTTDL dated 05 Nov 2021 [12]
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4.2 Author's Survey Results on the Role of
Cultural Policy in the Vietnamese Film
Industry
With the survey sample characteristics (Table 2), the
author has more reliable information to judge,
evaluate, and conclude on the practical role of
cultural policy in the field of the Vietnamese film
industry. The opinions of 166 film organization
managers are statisticized and tested by the author to
identify the rating and reliability of the observed
variables in the scale and model, shown in Table 4
below
.
Table 4. Statiscizing, testing the reliability of the scale
Scales
Observed
variables
N
Min
Max
Mean
Std.
Deviation
Cronbach’
Alpha
Corrected Item-
Total Correlation
1. The role of orientation
and regulation in cinema
development (GR)
GR1
GR2
GR3
166
166
166
2
2
2
5
5
5
3.89
3.77
3.69
.789
.793
.878
.856
GR1 = .713
GR2 = .758
GR3 = .718
2. The role of attracting
subjects’ participation in
cinema development (AP)
AP1
AP2
AP3
166
166
166
1
1
1
5
5
5
3.02
3.42
3.32
1.296
1.207
1.101
.739
AP1 = .416
AP2 = .637
AP3 = .638
3. Cinema development
(CD)
CD1
CD2
CD3
166
166
166
2
2
2
5
5
5
3.83
3.77
3.81
.783
.892
.852
.706
CD1 = .508
CD2 = .530
CD3 = .538
Valid N (listwise)
166
Source: Author’s survey results
The test results show that all 9 observed
variables have reliability when meeting the standard
conditions: Cronbach'alpha > 0.6; Corrected item-
total Correlation > 0.3 [7]. However, the managers
of film organizations underestimate the reality of the
role of film development policies in attracting the
participation of subjects to develop Vietnamese
cinema, which is expressed at a low average level:
MeanAP1 = 3.02, MeanAP2 = 3.42, MeanAP3 =
3.32; large dispersion of observations in the data set:
Std. = 1,296, Std. = 1.207, Std. = 1.101. The results
of this survey also show similarities with the
assessment of cultural and arts managers about the
actual role of film development policy in Vietnam's
film industry: “Policies on promoting socialization
of cinema have not attracted many domestic and
foreign individuals, organizations and businesses to
participate” [12]. Despite the role of orientation and
regulation of cinema development (MeanGR1 =
3.89, MeanGR2 = 3.77, MeanGR3 = 3.69) and
development goals of Vietnamese cinema
(MeanCD1 = 3.83, MeanCD2 = 3.77, MeanCD3 =
3.81) are evaluated at a higher level, but still show
great limitations when people and organizations are
not active participants and actively interact with the
State to develop the film industry.
With the standard test value, 9 observed
variables in the model continue to be used to
perform the next analysis. By the method of
calculating the average of the observed variables,
the value of the scale includes: GR = Mean (GR1,
GR2, GR3); AP = Mean(AP1, AP2, AP3); CD =
Mean(CD1, CD2, CD3). The author conducts the
correlation test between the scales to evaluate the
conclusions and test the research hypothesis (Table
5).
Table 5. Correlation testing of the scales
Descriptive Statistics
Mean
Std. Deviation
N
GR
3.2510
.79004
166
AP
3.7811
.72355
166
CD
3.8032
.66976
166
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Correlations
GR
AP
CD
GR
Pearson Correlation
1
.063
.650**
Sig. (2-tailed)
.424
.000
N
166
166
166
AP
Pearson Correlation
.063
1
.007
Sig. (2-tailed)
.424
.925
N
166
166
166
CD
Pearson Correlation
.007
.650**
1
Sig. (2-tailed)
.925
.000
N
166
166
166
**. Correlation is significant at the 0.01 level (2-tailed).
Source: Author’s survey results
Table 5 data shows that the correlation
coefficients of the scales reach 0 < r < 1, showing
that there is a positive relationship between the two
independent variables (GR, AP) and 01 dependent
variables (CD); hypotheses H1, H2 are accepted;
Regarding the content of the role of film
development policy in the scale, the research model
(Table 1, Figure 1) is confirmed to be appropriate.
5 Conclusions and Recommendations
- Firstly, the role of orientation and regulation in
cinema development (GR), The role of attracting
subjects’ participation in cinema development (AP),
and Cinema development (CD) scales correlate with
each other. In that correlation, the role of attracting
subjects’ participation in cinema development (AP)
scale shows the strongest with r = .650 (Table 5),
confirming the interest and expectation of the film
organization managers from the State's issued
policies for attracting the participation of subjects
for the development of Vietnamese cinema. That is
also confirmed by statistical data, tested through the
mean and standard deviation of observed variables
in AP measurement (Table 4). From here, in this
study, the author concluded: that Vietnam's film
development policy has not yet promoted the role of
attracting subjects' participation to develop cinema.
This is a major limitation that needs to be
researched, adjusted, and overcome soon so that
Vietnamese cinema can develop to achieve its goals
in the next period.
- Secondly, the above test results are a practical
basis for Vietnam's competent state agencies to pay
attention to research and adjust film development
policies to be more suitable to the actual situation so
that promulgated policies can attract the
participation of subjects towards the development of
national and local cinema to meet the development
trend of society. From the results of this study, the
author suggests policy issues, which are:
Supplementing and adjusting the current Law on
Cinema and legal documents in the direction of
expanding the role of subjects' participation and
social organizations in the development of cinema
according to the principle of harmonious and
reasonable allocation of social resources and
interests in the development of cinema; Social
subjects are allowed to participate in and enjoy
common benefits from cinema development
policies.
In this research, by combining qualitative
research methods, the author contributes to
deepening the research theoretical framework on the
role of film development policy. At the same time,
the research results also provide more scientific
information for policy-making activities in the film
industry in Vietnam.
However, this study only focuses on assessing
the role of orientation and regulation in cinema
development; the role of attracting subjects'
participation to develop cinema; The author
recommends that for the following studies, it is
necessary to conduct studies to evaluate the role of
controlling resources in society for cinema
development; the role in creating an appropriate
environment for cinema development to have a
more comprehensive assessment of the part of film
policy.
References:
[1] Bell, D., Oakley, K. Cultural Policy, Routledge,
2014.
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Volume 18, 2022
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WSEAS TRANSACTIONS on ENVIRONMENT and DEVELOPMENT
DOI: 10.37394/232015.2022.18.52
Nguyen Thi Anh Quyen
E-ISSN: 2224-3496
542
Volume 18, 2022
