Abstract
On a balmy summer evening, the crowds for Vu Ngoc Dang’s Nhung Co Gai Chan Dai, or Long-Legged Girls (2004), at the Korean-owned Diamond Plaza in Ho Chi Minh City were enormous. Sleek motorbikes were stacked in rows around the mall; throngs of young, fashionable people animatedly congregated to meet for drinks and watch the latest film. Comprising four floors devoted to various consumerist pleasures, the mall is flanked by tall business towers and lies adjacent to the Notre Dame Cathedral and a national park, at night a notorious meeting place for lovers and for prostitutes and their clients. Diamond Plaza offers foreigners and an emerging Vietnamese middle class an air-conditioned respite from the heat during the summer months. It remains a place of leisure for a well-heeled generation of Vietnamese youth, also called the “@ generation.”
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© 2007 Katarzyna Marciniak, Anikó Imre and Áine O’Healy
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Duong, L. (2007). Long-Legged Girls and the Transnational Circuits of Vietnamese Popular Culture. In: Marciniak, K., Imre, A., O’Healy, Á. (eds) Transnational Feminism in Film and Media. Comparative Feminist Studies Series. Palgrave Macmillan, New York. https://doi.org/10.1057/9780230609655_10
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DOI: https://doi.org/10.1057/9780230609655_10
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