在學術領域的過去十年裡，不管是從人文社會角度還是其他領域之角度所針對名人和名人文化的研究都相當豐富。本文主要探討黃翠玲（Hoang Thuy Linh）知名歌手的個案。首先，筆者分析越南名人和受眾文化，其有助於擴大關於越南流行文化和名人文化的學術資料。此研究同時探討了黃翠玲的作品中所包含的文化因素及其對年輕觀眾的吸引力。另一方面，透過線上問卷，筆者也蒐集了跨國家觀眾對使用文化因素的影音作品之反應。
本文同時採用了兩種研究方法。以質性而言，即通過蒐集黃翠玲的背景及其作品來進行分析。本文以多模態批評性話語分析（MCDA）的方法，把創作、影音作品視為一種文本。本文運用批判性理論和互文性原則（內容分析、話語分析）對名人視為一系列文本進行分析。為了建立和推銷自己特定的角色設定，文本反映了名人以及他們在特定文本中之表現。
線上問卷的目的為了解「對音樂的反應」之因素。問卷填寫者分為三組：越南人、台灣人和其他國家的人（韓國人、波蘭人、印尼人、土耳其人、馬來西亞人、日本人、德國人和泰國人）。問卷填寫者共有100位，為國立成功大學之學生（含大學、碩士和博士生），年齡層落在18至35歲之間，其中47%為女性，43%為男性。所蒐集到的100位中，35位來自越南，34位來自台灣，31位來自其他國家。為了確保結果的準確性，每組學生人數平均是至關重要的。因此，在數據處理階段，本研究把每組的人數設為30位，透過結果的篩選以及以有效問卷為主（即每個問題只選擇一個答案）。
「對音樂的反應」之變數採用了Lacher和Mizerski（1994）研究中對音樂消費所使用的評分量表。這些測量評估了四種不同的音樂反應：情緒、感官、參與度和與調查中提到的歌曲相關的分析。研究目的為比較不同受試者對一系列影音作品的反應。影音作品1由Hoang Thuy Linh在8年前發布，名為「I am gonna break」。 影音作品2名為「讓Mi說」，包含了之前討論的各種令人印象深刻之文化因素。影音作品3名為「Het thuong can nho」，是Duc Phuc歌手的創作，靈感來自Nam Cao的短篇小說《Chi Pheo》。影音作品4名為「Hon ca yeu」， 此影音作品在情人節發布，講述了情侶之間愛情與友情的歡樂時刻。填寫者輪流觀看影音作品，然後迅速完成調查，指出他們的印象（見附錄I）。
研究已指出，首先，文化因素在一個國家中起著重要作用；因此，黨和國家始終貫徹落實文化建設和文化保護政策。政府並不直接管理這些作品，而是為藝人之發展提出指導方針與框架，正如上述所提及的藝人行為準則。其次，越南娛樂產業的特徵是明星和名人互相競爭時常會透過製造緋聞來引起關注。這些人使用了各種行為，比如穿著特異或暴露的衣服，製作性愛影音等，為了獲取媒體的關注且引起話題。歌手也將觀眾的這批判納入其歌曲中。第三，Grosse（2015）強調，在中國、韓國、越南、日本和新加坡等儒家社會中，性別平等意識往往較低。因此，要保持正面的公眾形象，女性名人的私生活必須是約束、檢點的，不涉及婚外情或任何可能傷害其他家庭的行為。另一方面，調查結果表明，越南人對這四部影音作品的反應存在著顯著的差異。相比之下，外國人（含台灣人與其他國家的人）的反應則可分為兩趨勢，一種是對包含文化因素的影音作品反應較為強烈，另一種是，對沒有文化因素的影音作品反應較差。

Within the academic field, the research on celebrities and celebrity culture has been enriched with the humanities and social aspects as other fields of study have over the last decade. This thesis focuses on a particular case in Viet Nam, Hoang Thuy Linh. Firstly, I would like to explore celebrity and audience culture in Vietnam, which give support to expand the academic material source on Vietnamese popular culture and celebrity culture. The research also explores her products that contain cultural elements and their attraction for young audiences. On the other hand, cross-national audiences' responses to videos using cultural elements were examined through a online survey.
This thesis uses both two methods. By qualitative method, an approach to use is by looking at HTL’s background and her products. My research was be conducted by doing a multimodal and critical discourse analytical (MCDA) approach of her creations - music videos are considered a kind of text. This thesis analyzes celebrities as a series of texts using critical theory and intertextuality principles (textual analysis, discourse analysis). To build and promote a specific identity, texts reflect celebrities and how they show themselves in particular texts.
By quantitative method, an online survey was conducted to test the elements of "Response to Music" variables. These participants were divided into three groups: Vietnamese, Taiwanese, and other nationals (Korean, Polish, Indonesian, Turkish, Malaysian, Japanese, Germans, Thai people). The participants in the survey comprise university, master's, and doctoral students aged between 18 and 35, 47% female, 43% male, with total of 100 participants. The study focuses on National Cheng Kung university and master's students as the target audience. Among the 100 surveys conducted were 35 participants from Vietnam, 34 from Taiwan, and 31 from other countries. To ensure precise results, having an equal number of students in each group was essential. Consequently, 30 respondents were allocated to each group during the data processing phase, allowing for proper filtering of the responses and focusing on valid answers (selecting only one answer per questionnaire).
The "Response to Music" variable was evaluated using scales employed in previous research conducted by Lacher and Mizerski (1994) on music consumption. These measures assessed four distinct music responses: emotions, sensory, engagement, and analysis related to the songs mentioned in the survey. The objective of the experiment was to compare the responses of different subject groups to a series of videos. Video 1 was released by Hoang Thuy Linh 8 years ago, titled "I am gonna break." Video 2- "Let Mi tell" impressively contained cultural elements discussed earlier. Video 3, titled "Het thuong can nho," is a creation by singer Duc Phuc, drawing inspiration from Nam Cao's short story, "Chi Pheo." Lastly, Video 4, titled "Hon ca yeu,", released on Valentine's Day, the music video carries the joyous moments of love and friendship between couples. Participants took turns watching the videos and then quickly completed surveys evaluating their impressions (see Appendix I).
Research pointed out that firstly the cultural factor plays a significant role in a country; therefore, the Party and State consistently implement policies to cultivate and safeguard culture. The government does not manage these productions directly. They do provide guidelines and frameworks for artists' development, as mentioned in the reference to the code of conduct of art for artists. Secondly, the entertainment industry in Vietnam is characterized by competition among some stars and celebrities to generate attention through scandals that help to maintain their fame. These individuals process various actions, such as wearing unusual or revealing outfits and creating sex videos, all with the intention of attracting media attention and projecting an image of controversy. Singer also acknowledges the audience's judgment by comprising it into their songs. Thirdly, Grosse (2015) highlighted that in Confucian societies such as China, Korea, Vietnam, Japan, and Singapore, gender equality tends to be lower. Hence, to maintain a positive public image, a female celebrities’ private life must be virtuous, free from involvement in extramarital affairs or any actions that may harm other families. On the other hand, the survey results indicate significant differences in the reactions of Vietnamese individuals to the four videos. In contrast, foreigners, including Taiwanese and individuals from other countries, displayed reactions that can be categorized into two trends, one responding more strongly to videos incorporating cultural elements and another, responding less strongly to those without cultural factors.

Besel, L. D., & Yuille, J. C. (2010). Individual differences in empathy: The role of facial expression recognition. Personality and Individual Differences, 49(2).107–112.
Boon, S. D., & Lomore, C. D. (2001). Admirer-celebrity relationships among young adults: explaining perceptions of celebrity influence on identity. Human Communication Research, 27(3), 432–465.
Boorstin, D. J. (1961). The image. New York: Atheneum.
Brockington, D. (2022). The production and construction of celebrity advocacy in international development. Third World Quarterly, 35(1), 88-108.
Chang, D. R. (2020). Using films to achieve diversity goals in marketing education. Journal of Marketing Education, 42(1), 48–58.
Chang, D. R., & Choi, K. O. (2013). We can cookies: A case study in a pioneering social enterprise in South Korea. Asia Marketing Journal, 14(4), 23–33.
Chi, H. N. (2021). Educating National Cultural Identity for Vietnamese Students: A Case Study at an Giang University. Universal Journal of Educational Research, 9(10), 1773 – 1784.
Choi, H., Kim, J., & Kim, B. (2018). Consumer Response to Advertising Endorsers’ Sexual Information: Western Individualism Vs. Eastern Confucian Conservatism. Journal of Promotion Management, 24(4), 459–483.
Crossman, A. (2017). Sociological Definition of Popular Culture: The History and Genesis of Popular Culture.
D’Cruz, G. (2017). Watching Waleed: celebrity authenticity, Australian national identity, and the ideological work of The Project. Celebrity Studies, 8(3), 409-423.
Dang, T. T. H. (2010). Hallyu and its effect on young Vietnamese. The Korea Herald. http://www.koreaherald.com/view.php?ud=200906030000 57. Accessed 2023/04/30
Daniel. B. (1982). The Image: A Guide to Pseudo-Events in America. New York: Atheneum.
Dinesh, B., Kamaldeep, B., Rosemarie, M., Manisha, D., Jayshree, S., & Julian, L. (1999). “Cultural identity and its measurement: a questionnaire for Asians”. International Review of Psychiatry, 11.2, 244-249.
Fedorenko, O. (2017). Korean-Wave celebrities between global capital and regional nationalisms. Inter-Asia Cultural Studies, 18(4), 498-517.
Flora, C. Seeing by Starlight: Celebrity Obsession from Princess Diana to the Donald. Psychology Today, July 1, 2004.
Frisby, J. S. A. C. M. (2011). Sexual Objectification in Music Videos: A Content Analysis Comparing Gender and Genre. Mass Communication and Society, 14, 475-501.
Goodwin, Andrew. (1992). Dancing in the distraction factory Music television and popular culture. Minneapolis, MN: University of Minnesota Press.
Haeyoung. J, Tram, N. O. N & Seung, H. K. (2021). Women’s Empowerment and Transnational Consumption of Hallyu in Vietnam. Asian Journal of Women's Studies, 27:2, 184-207.
Harrington, C. L. (2018). Creativity and aging in fandom. Celebrity Studies, 9(2), 231-243.
Hartmann, T., & Goldhoorn, C. (2011). Horton and Wohl revisited: Exploring viewers’ experience of parasocial interaction. Journal of Communication, 61, 1104-1121.
Higgins, L. T., Zheng, M., Liu, Y., & Sun, C. H. (2002). Attitudes to marriage and sexual behaviors: A survey of gender and culture differences in China and the United Kingdom. Sex Roles, 46(3-4), 75–89.
Hoang. N. (2023). Vietnam has the third most K-pop fans in the world. VN Express International.
Hojoon Choi, Jooyoung Kim & Bong-Chul Kim (2018) Consumer Response to Advertising Endorsers' Sexual Information: Western Individualism vs. Eastern Confucian Conservatism, Journal of Promotion Management, 24:4, 459-483
Huang, J. C. (2017). How does Scandal Affect the Celebrity-Endorsed Brand?. in Creating Marketing Magic and Innovative Future Marketing Trends? Springer. 689–691.
Huong. N.T.T. (2022). Journal in Science and Technology. Research on factors affecting traditional cultural values in Vietnam. 56-109.
Grosse, I. 2015. “Gender Values in Vietnam – Between Confucianism, Communism, and Modernization.” Asian Journal of Peacebuilding 3 (2): 253–272.
Johnson, D. R. (2012). Transportation into a story increases empathy, prosocial behavior, and perceptual bias toward fearful expressions. Personality and Individual Differences, 52(2), 150–155.
Kim, J., & Sintas, J. L. (2021). Social TV viewers’ symbolic parasocial interactions with media characters: A topic modeling analysis of viewers’ comments. Social Sciences & Humanities Open, 3(1), 100129.
Kong, L. (1996). Popular music in Singapore: exploring local cultures, global resources, and regional identities. Environment and Planning D; Society and Space, 14, 273-292.
Marshall, P.D. (1997). Celebrity and Power: Fame in Contemporary Culture. Minneapolis/London: University of Minnesota Press.
McCracken, G. (1986). Culture and consumption: A theoretical account of the structure and movement of the cultural meaning of consumer goods. Journal of Consumer Research, 13 (June), 71–84.
McCracken, G. (1989). Who is the celebrity endorser? Cultural foundations of the endorsement process. Journal of Consumer Research, 16 (3), 310–321.
McCutcheon, L. E., Lange, R., & Houran, J. (2002). Evidence for non-pathological and pathological dimensions of celebrity worship. British Journal of Psychology, 93 (1), 67– 87.
Minh, P. T. (2016). The role of Facebook in the image management of Vietnamese celebrities [Master thesis, Auckland University of Technology].
Mishra, A. A., & Mishra, A. (2014). National vs. Local Celebrity Endorsement and Politics. International Journal of Politics, Culture, and Society, 27(4), 409-425.
Mohamad, S. M. (2021). Micro-celebrity practices in Muslim-majority states in Southeast Asia. The International Journal of Media and Culture.
Monaco, J. (ed.) (1978) Celebrity: The Media as Image Makers. New York: Delta.
Moodley, P. (2019). Miley Cyrus and ‘Malibu’: a discourse analysis. Celebrity Studies.
Ngoc, T. O. N. (2009). Governing Music in Vietnam: From Socialist to Post-Socialist Use of Nationalism [Dissertation, University of California].
Nguyen Hoa Ngan, Liamputtong Pranee (2007) Sex, love and gender norms: sexual life and experience of a group of young people in Ho Chi Minh City, Vietnam. Sexual Health 4, 63-69.
Nguyen, T. G. 2011. Celebrity and its possible social functions. VNU Journal of Science: Social Sciences and Humanities 27 (3), https://js.vnu.edu.vn/SSH/article/view/1598.
Noor, R. (2018). Socio-cognitive Approach: A study of Political Music Videos of Pakistan (2007-2017). Pakistan Journal of Social Sciences (PJSS), 38(2), 687-694.
Phuoc. V. (2021). Artists and responsibility to the community. Website of the Party Committee of Ho Chi Minh City. Accessed on 2022/7/1
Prendergast, K. C. G. P. (2015). Social comparison, imitation of celebrity models, and materialism among Chinese youth. International Journal of Advertising: The Review of Marketing Communications, 27(5), 799-826.
Rosaen, S. F., & Dibble, J. L. (2012, November). Parasocial relationships with liked and disliked characters: Does the need for companionship, attachment style, and the gender of the character predict strength? Paper presented at the annual meeting of the National Communication Association, Orlando, FL.
Rubin, A. M., & Perse, E. M. (1987). Audience activity and soap opera involvement: A uses and effects investigation. Human Communication Research, 14, 246-268.
Rockwell, D., & Giles, D. C. (2009). Being-in-the world of celebrity: the phenomenology of fame. Journal of Phenomenological Psychology, 40(2), 178-210.
Rubin, A. M., Perse, E. M., & Powell, R. A. (1985). Loneliness, parasocial interaction, and local television news viewing. Human Communication Research, 12, 155-180.
Schramm, H., & Hartmann, T. (2008). The PSI-Process Scales: A new measure to assess the intensity and breadth of parasocial processes. Communications-The European Journal of Communication Research, 33, 385-401.
Schramm, H., & Wirth, W. (2010). Testing a universal tool for measuring parasocial interactions across different situations and media. Journal of Media Psychology, 22, 26–36.
Schulz, D. E. (2001). Music Videos and the Effeminate Vices of Urban Culture in Mali. Africa, 71, 345-372.
Shevy, M. (2007). The mood of rock music affects the evaluation of video elements differing in valence and dominance. Psychomusicology: A Journal of Research in Music Cognition, 19(2), 57.
Shim, Y. H. (2001). Feminism and the discourse of sexuality in Korea: Continuities and changes.Human Studies,24(1,2), 133–148.
Shuart, J. (2007). Heroes in sport: Assessing celebrity endorser effectiveness. International Journal of Sports Marketing & Sponsorship, 8 (2), 126–140.
Smita, C.B., Jennifer, L. H., & Kathryn, G. (2015). Indoor tanning addiction tendencies: Role of positive tanning beliefs, perceived vulnerability, and tanning risk knowledge. Addiction Research and Theory, 23(2), 156-162.
Storey, J. (2018). Cultural Theory and Popular Culture. Routledge.
Su Holmes & Sean Redmond (2010) A journal in Celebrity Studies, 1:1, 1-10.
Sutton, R. A. (2011). "Fusion" and Questions of Korean Cultural Identity in Music. Korean Studies 335, 4-24.
Thanh. T. (2012). Voice of Vietnam. Young people are victims of popular music. https://vov.vn/van-hoa/am-nhac/gioi-tre-dang-la-nan-nhan-cua-nhac-thi-truong-239595.vov. Accessed in 2023/04/25
Them, T. N. (1999). Vietnamese Culture. The Education Publisher.
Tsao, C. (2004). Research on parasocial involvement: An overview. Journal of Hsuan Chuang, Information & Communication, 1, 1-21.
Tsetsentsolmon, B. (2015). Music in Cultural Construction: Nationalisation, Popularisation, and Commercialisation of Mongolian Music. Inner Asia 17(1), 118-140.
Tuan. A.H., Linh. T.L. (2018). “Weapons of Mass Attraction”: Waves of Northeast Asian Movies and Cultural Influence in Contemporary Vietnam. Intra-Regional Popular Cultural Flows. New York: Peter Lang.
Tukachinsky, R. (2010). Para-romantic love and para-friendships: Development and assessment.
Thomas, M., & Heng, R.H.K (2001). Stars in the shadow: celebrity, media, and the state in Vietnam. In Y. Souchou (Ed,), House of glass – culture, modernity and the state in Southeast Asia (pp.287-312). Singapore: The Institute of Southeast Asian Studies.
Usher, B. (2018). Rethinking microcelebrity: key points in practice, performance, and purpose. Celebrity Studies.
Van Krieken, R. (2012). Celebrity as a social form: Status, charisma and power. In R. Van Krieken (Ed.), Celebrity society (pp. 62–80). London, England: Routledge.
VanderHamm, M. K. a. D. (2015). Preserving Heritage, Fostering Change: Accidental Archives of Country Music and Hip-Hop. The Public Historian, 37(4), 32-46.
Vuong. Q.T., Thanh. T.N., Ben. T.N., Dung. M.L., Anh. T.T. (2005). Co so van hoa Viet Nam. Educational Publisher.
Yoon, S. -W., & Shin, S. (2017). The Role of Negative Publicity in Consumer Evaluations of Sports Stars and their Sponsors. Journal of Consumer Behaviour, 16(4), 332–342.
The Vietnamese Writers Association. Ngạn ngữ “KẺ CẮP BÀ GIÀ” là một điển tích Việt Nam, 2019.
Koi, K. (2020). Giải mã MV mới của Hoàng Thuỳ Linh: Ván cờ "căng não", 5 bức tranh Hàng Trống cùng những ẩn ý đằng sau hàng chục bộ trang phục. Chuyên trang Trí thức trẻ - Báo điện tử Tổ Quốc, Accessed in 2023/05/10.
Q, N. (2019) Hoàng Thùy Linh mang cả dàn 'anh hùng hào kiệt' vào MV 'Tứ Phủ'. Tuổi trẻ Online. Accessed in 2023/05/10.
Bao, G. (2019). Hoàng Thùy Linh thừa nhận sống duy tâm. Vietnamnet. Accessed in 2023/05/10.
Tiffany.,L. (2010). Love hurts: Asia's top 5 celebrity sex scandals. CNN Travel. 2022/06/12.