Thesis (M.S.)--West Virginia University, 2000. / Title from document title page. Document formatted into pages; contains xi, 110 p. : ill. (some col.), maps (some col.). Vita. Includes abstract. Includes bibliographical references (p. 71-78).

(in English): This thesis deals with the second war in Indochina (American Vietnam War), its causes, course, political and international contexts and, in particular, its representation in American cinema in the second half of the twentieth century and the beginning of the twenty-first century. In the main part of this thesis, I introduce the most important films dedicated to the Vietnam War while comparing and showing the different approaches of directors to this topic. I present films that deal not only with the war in Vietnam, but also topics that are immediately connected to it, such as the draft, returning veterans and their problems or war heroes. For each movie I endeavor to show the artistic quality or flaws and emphasize the political attitudes of the directors and their relationship to the Vietnam War.

ABSTRACT This thesis is concerned with the question of how America’s citizen soldiers are remembered and how their services can be interpreted through monuments and memorials. The paper discusses the concept of memory and the functions of memorialization. It explores whether and how monuments and memorials portray the difficulties, hardships, horror, costs, and consequences of armed combat. The political motivations behind the design, formation and establishment of the edifices are also probed. The paper considers the Vietnam War monuments and memorials erected by Americans and Vietnam expatriates in New Orleans, Louisiana, and examines their illustrative and educational usefulness. Results reflect that although political benefits accrued from the realization of the memorial structures in question, far more important, palliative and meaningful motives brought about their construction. They also demonstrate that, when understood, monuments and memorials can be historically useful.

The materials of war, defined as what soldiers carry into battle and off the battlefield, have much to offer as a means of identifying and analyzing the culture of those combatants. The Vietnam War is extremely rich in culture when considered against the changing political and social climate of the United States during the 1960s and 70s. Determining the meaning of the materials carried by Vietnam War soldiers can help identify why a soldier is fighting, what the soldier’s fears are, explain certain actions or inactions in a given situation, or describe the values and moral beliefs that governed that soldier’s conduct. “Carry,” as a word, often refers to something physical that can be seen, touched, smelled, or heard, but there is also the mental material, which does not exist in the physical space, that soldiers collect in their experiences prior to, during, and after battle. War changes the individual soldier, and by analyzing what he or she took (both physical and mental), attempts at self-preservation or defense mechanisms to harden the body and mind from the harsh realities of war are revealed. In the same respect, what the soldiers brought home is also a means of preservation; preserving those memories of their experiences adds validity and meaning to their experiences. An approach employing aspects of psychology, sociology, and cultural theory demonstrates that any cookie-cutter answer or characterization of Vietnam veterans is unstable at best, and that a much more complex picture develops from a multidisciplinary analysis of the soldiers who fought the war in Vietnam.

This study addresses a tension in contemporary studies of public memory between ideology criticism and postmodern critique. Both strategies of reading public memory rely on a representational logic derived from the assumption that the source for comparison of a memory text occurs in a more fundamental text or event. Drawing heavily from Michel Foucault, the study proposes an alternative to a representational reading strategy based on the concepts of regularity, similitude, articulation, and cultural formation. The reading of Vietnam Veterans Memorial and the Galveston County Vietnam Memorial serves as an example of a non-representational regularity enabled by the cultural formation of pastoral power.

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