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Analyzing the effect of military expenditure on economic growth has been an essential task for U.S economists. This thesis analyzed macroeconomic components for the last 70 years by estimating the ordinary least squares (OLS) regression model and vector autoregressive model. To interpret the empirical analysis, historical analysis of the Korean War, the Vietnam War, and the Wars in the Middle East, was made. One found the negative effect of military spending during wartime on the economic growth of the United States. This thesis suggests that the policymakers and military commanders should focus on shortening the state of war to minimize economic damage to the United States. / Includes bibliography. / Thesis (M.S.)--Florida Atlantic University, 2020. / FAU Electronic Theses and Dissertations Collection

(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.

Over the past 15 years, mental health professionals have seen an increasing number of Vietnam combat veterans suffering from stress disorders resulting from the trauma of combat and continued exposure to life threatening situations. Prior to 1980, professional repudiation of and hostility toward Vietnam veterans and toward a clinical reality of Post Traumatic Stress Disorder was common while nondiagnosis and nontreatment was prevalent

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No description available.

This dissertation is a cultural history of total war (ch’ongnyŏkchŏn) mobilization in South Korea from the 1946 outbreak of mass uprisings in the U.S.-occupied southern provinces to the withdrawal of Republic of Korea Army (ROKA) troops from the Vietnam War in 1973. It focuses more specifically on the role of cultural production in programs of anticommunist pacification in postcolonial South Korea. Following the collapse of the Japanese Empire and the division of the Korean peninsula in 1945, U.S. and South Korean elites confronted popular insurgencies in Taegu (1946), Cheju Island (1948-49), and South Chŏlla Province (1948). Acknowledging the mass character of these rebellions, anticommunist ideologues emphasized the importance of campaigns—variously referred to as culture war (munhwajŏn), thought war (sasangjŏn), or psychological warfare (simnijŏn)—targeting the home front (hubang) as a refuge for communist subversion. Cultural production would remain a central element of war mobilization in the subsequent Korean War (1950-1953) and Vietnam War (1965-1973), as well as in the militarized village development schemes of the 1950s and 1960s. In exploring the cultural dimension of unending war in divided Korea, this dissertation draws on a wide variety of documentary media, including roundtables, war correspondence, reportage, travelogues, ethnographies, memoirs, diaries, realist literature, illustrations, photographs, and oral histories, among other such sources. These genres, often sponsored or otherwise influenced by the state, functioned to investigate the historical causes of insurgency and propose suitable modes of prevention. From the mid-1940s to the mid-1970s, such investigations evolved, moving from a post-liberation fixation on repatriated “war victims” (chŏnjaemin) to studies of other displaced groups purportedly vulnerable to communist subversion: refugees, POWs, vagrants, juvenile delinquents, peasants, lepers, and, in the Vietnam War, National Liberation Front (NLF) recruits. In South Korea, documentary media was emblematic of a Cold War “exhibitionary complex” founded upon claims to a pure reality unmediated by ideology. This study argues that the peculiar conditions of divided Korea ensured that anticommunist exhibitions did not just broadcast the messages of power but served in themselves to display and facilitate punishment. I further argue that the functional nature of embedded texts—as mechanisms of identification and surveillance as well as representation—lies behind their value as historical sources. This dissertation also argues for a conception of South Korean militarism (kunsajuŭi) capable of integrating such artifacts of literary, mass, and popular culture. Building on and departing from the foundations of South Korean anticommunist ideology in the 1940s and 1950s, the Park Chung Hee regime (1961-1979) offered a vision of the North Korean enemy as invisibly embedded in the socioeconomic contradictions of the home front. The Park-era discourse of “indirect invasion” (kanjŏp ch’imnyak) projected the masses as a hotbed of potential subversion, encouraging new forms of civilian participation in the militarized development schemes of the 1960s. The participation of non-state actors—whether as philanthropists, entrepreneurs, educators, proselytizers, performers, writers, or artists—in the reproduction and justification of war at home and in South Vietnam throughout the 1960s is one critical aspect of South Korean militarism overlooked in existing studies. This total mobilization of an emergent civil society into war and militarized development, however, produced unintended consequences, obstructing reporters’ attempts to represent the Vietnam War and incentivizing the exploitation of labor export programs and support initiatives aimed at the home front. These contradictions helped fuel the re-emergence, in late 1960s and early 1970s South Korea, of documentary writing as a vehicle of anti-capitalist critique rather than state propaganda.

Many historians have conducted oral history interviews with Vietnam War veterans in an attempt to offer a more personal perspective to the study of the Vietnam War; however, most historians do not consciously differentiate between drafted and volunteer veterans. Identifying whether a veteran was drafted into service or volunteered is critical because the extent to which this service was voluntary or coerced may affect the way a veteran remembers his military service. By conducting oral histories, one can consciously delineate service members who volunteered as opposed to those who were drafted to determine if the veterans‟ experiences change based on the nature of their entry into the military. Additionally, examining the implementation of a national draft and its effects on service members‟ experiences will offer a better understanding of American military history. While much of the attention of scholars has been on drafted soldiers in Vietnam, little research has been conducted on the experience of the volunteer soldier. This study relies on oral history interviews conducted with volunteer and drafted service members of the Vietnam War to determine if there were differences between draftees and volunteers based on their entrance into the military. The research and oral history interviews with the two veteran groups establishes that the dissent detailed by draft protesters was not always the case and service members, volunteers and draftees alike, more often than not accepted their military service. The interviewed veterans‟ responses suggest that resistance to military service during the Vietnam War may not have been as great as one might think given the attention that has been placed on the anti-draft movement.

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No description available.