Vietnam bans 'Barbie' movie over South
China Sea map
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[July 03, 2023]
HANOI (Reuters) - Vietnam has banned Warner Bros'
highly-anticipated film "Barbie" from domestic distribution over a scene
featuring a map that shows China's unilaterally claimed territory in the
South China Sea, state media reported on Monday.
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Actors Michael Cera, America Ferrera, Ryan
Gosling, Margot Robbie, Issa Rae, Kate McKinnon and director Greta
Gerwig pose for pictures during a photocall for the upcoming Warner
Bros. movie "Barbie" in Los Angeles, California, U.S., June 25, 2023.
REUTERS/Mike Blake/File Photo |
The
U-shaped "nine-dash line" is used on Chinese maps to illustrate
its claims over vast areas of the South China Sea, including
swathes of what Vietnam considers its continental shelf, where
it has awarded oil concessions.
"Barbie" is the latest movie to be banned in Vietnam for
depicting China's controversial nine-dash line, which was
repudiated in an international arbitration ruling by a court in
The Hague in 2016. China refuses to recognise the ruling.
In 2019 the Vietnamese government pulled DreamWorks' animated
film "Abominable" and last year it banned Sony's action movie
"Unchartered" for the same reason. Netflix also removed an
Australian spy drama "Pine Gap" in 2021.
"Barbie", starring Margot Robbie and Ryan Gosling, was
originally slated to open in Vietnam on July 21, the same date
as in the United States, according to state-run Tuoi Tre
newspaper.
"We do not grant license for the American movie 'Barbie' to
release in Vietnam because it contains the offending image of
the nine-dash line," the paper reported, citing Vi Kien Thanh,
head of the Department of Cinema, a government body in charge of
licensing and censoring foreign films.
Warner Bros did not immediately respond to a request for
comment.
Vietnam and China have long had overlapping territorial claims
to a potentially energy-rich stretch in the South China Sea. The
Southeast Asian country has repeatedly accused Chinese vessels
of violating its sovereignty.
(Reporting by Phuong Nguyen; Editing by Kanupriya Kapoor)
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