A/HRC/28/57/Add.1 to make a more diverse range of writings accessible to the public enjoy a very thin marge de manoeuvre. Crossing the lines could have many important personal consequences. 57. One small window available to publishers and writers to avoid prior censorship is publishing e-books. Restrictions on the Internet, online censorship and control also have an impact on artistic freedom. Internet Decree 72/2013, requiring Internet companies and providers to cooperate with the Government in enforcing the prohibition of certain content and the filtering of such content, raises particular concern in that respect. 58. The Special Rapporteur is concerned at information that people trying to establish independent private publishing houses have faced harassment and arrest. Their family members have been kept under special surveillance without any explanation and they, themselves, cannot travel abroad as their passports have been retained. For example, the Special Rapporteur was informed of the case of Bui Chat, poet, publisher and founder of the Open Mouth Group, who received the International Publishers Association 2011 Freedom to Publish Award in Buenos Aires, and was detained briefly after his return. 59. People engaged in cinema and visual arts encounter many difficulties in creating and running independent studios. Procedures to obtain a licence to screen films or organize exhibitions are reportedly lengthy and involve numerous government departments, creating many opportunities for corruption. It is reportedly easier to exhibit in a commercial space than in an independent cultural institution, and licences are only granted to institutions under the umbrella of the Government. Many stakeholders see licensing as a major problem. 4. The “cultural police” 60. According to various concurrent sources of information, a specific unit under the Ministry of Public Security is in charge of influencing and monitoring the publishing press, academics and artists, to ensure that they follow existing policies and the official ideology. It is widely referred to in Vietnamese society as the “cultural police”, although this is not its official name. Reportedly, its modus operandi includes the checking of licences, phone calls and threats to artists, academics or curators organizing exhibitions considered unsuitable. They operate without submitting any written document or details regarding the grounds for their interventions. The Special Rapporteur believes that she herself was under scrutiny by the “cultural police” during her visit. She regrets that, despite her request, officials from the unit referred to as the “cultural police” were not available to meet with her. C. Preserving and promoting cultural heritage 61. Viet Nam is very proud of its rich tangible and intangible cultural heritage. Law 28/2001 on Cultural Heritage provides the legal framework for the protection and promotion of cultural heritage; it is complemented by numerous decrees, directives and programmes, including for the development of cultural activities in remote areas. Indeed, policies and guidelines have been developed for the protection of the cultural heritage of minority groups, including their languages. In Lao Cai, for example, numerous festivals, ceremonies and sports fairs are organized to foster social participation in cultural activities and promote the games of minority groups in remote areas. 62. There is increased focus on cultural heritage as a resource for development and poverty reduction through, for example, developing tourism and festivals, or re-establishing and further developing the production of craftwork for export. The Government is conscious of the need to protect and safeguard cultural heritage, in particular from the possible negative impact of tourism policies and the commercialization of culture. 13