ABSTRACT
Every spectator mediates a text to his or her own reality. To repeat such a banality in this context is to remember that although everyone knows this, everytime an interpretation of a work implicitly presents itself as a mere (obvious or objective) decoding of the producer’s message, there is an explicit reiteration of the fetishistic language of the spectacle, in other words, a blind denial of the mediating subjectivity of the spectator as reading subject and meaning maker-contributor. With emphasis laid on the spectator’s creative role and critical resistance to consumption, it is amazing (although not the least surprising) to hear the unfamiliar or different/autonomous work morally condemned in the name of a humanism which hypocritically demands respect for the viewers/readers, claiming, sure enough, to speak on their behalf and advocate their rights. Every spectator owns a Vietnam of his or her own.
