North Texas State University and the surrounding Denton community enjoyed a quiet college atmosphere throughout most of the 1960s. With the retirement of President J. C. Matthews in 1968, however, North Texas began witnessing the issues most commonly associated with the turbulent decade, such as the struggle for civil rights, the anti-Vietnam War movement, the fight for student rights on campus, and the emergence of the Counterculture. Over the last two years of the decade, North Texas State University and the surrounding community dealt directly with the 1960s and, under the astute leadership of President John J. Kamerick, successfully endured trying times.

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Historians recognize that there was an increase in political repression in the United States during the Vietnam War era. While a number of accounts portray the Federal Bureau of Investigation as the primary driver of repression for many groups and individuals during the 1960s and 1970s, particularly those on the left, historians typically overlook the role played by local and state law enforcement in political intelligence-gathering. This thesis seeks to advance the study of one aspect of this much larger topic by looking at New York State Police surveillance of the Vietnam-era student peace movement. Drawing extensively on State Police spy files housed at the New York State Archives, the thesis makes several significant contributions to the existing historiography on this period. First, it demonstrates how state and local police contributed to the climate of political repression and surveillance during the Vietnam era. Second, while this thesis encompasses state police surveillance at all types of institutions, including elite private universities and second-tier state colleges, in doing so it provides the first-ever detailed look at how community college students organized against the war. Since a majority of community college students were from relatively low-income backgrounds, chronicling the history of protest on two-year campuses gives historians another angle from which to counter the persistent myth that antiwar activism failed to penetrate the most working-class sectors of U.S. society.

American Ways of War and Strategic Culture: A Reflection in Domestic and Foreign Cinematography Katarína Kondrótová Abstract This thesis examines the portrayal of American strategic culture in movies from the USA and two countries with which the USA has been in conflict with - Vietnam and Afghanistan. The research focuses on comparing them with official US strategies and contrasting the different national portrayals among themselves. The aim is to discover how the USA and its way of war is depicted at home and abroad through movies - a popular medium with the power to shape perceptions. The research is anchored in the international relations theory of post-structuralism and the concepts of strategic culture and national ways of war. They serve as a lens through which the most popular war movies from each country are analyzed. The findings showed that American movies were more precise in depicting their real-life strategic approaches and tended to be more derogatory in their portrayal of their adversaries. They also showed a more critical depiction of US conduct in Vietnam compared to Afghanistan. When it comes to the foreign movies, Vietnamese films were more critical of the USA than Afghan films, but not as disdainful of the enemy as the USA. Afghan depictions exhibited the dual nature of their opinion of...

In this diploma thesis, I deal with the everyday life of military personnel stationed in the main American bases in South Vietnam during the Vietnam War (1965-1973). The research is based on the analysis of oral history interviews with veterans that served in various occupational specialties in the rear of American armed forces. I'm describing specifics of the military service of witnesses from their entry to the armed forces, training, Vietnam experience, to their homecoming. I'm trying to analyze specific topics that are connected with the experience of military life in Vietnam, especially off duty hours of personnel. Finally, I deal with the creation of the popular culture image of the conflict. Keywords Oral history, everyday life, Vietnam War, American bases, off duty hours of military personnel

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.

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The Vietnam War has become an important symbol and signifier in contemporary American culture and politics. The word "Vietnam" contains many meanings and narratives, including both the real events of the American War in Vietnam and the fictional representations of that war. Because we live in a reality that is composed of both lived experience and simulacra, defined by Baudrillard as a hyperreality, fiction and simulation are capable of representing particular realities. Vietnam was shaped by simulacra of Vietnam itself as well as simulacra of previous American conflicts, especially World War II; however, the hyperreality of Vietnam differed largely from that of World War II. Francis Ford Coppola's Apocalypse Now and Tim O'Brien's The Things They Carried are highly fictionalized texts that accurately portray particular realities of Vietnam. These texts are capable of presenting truth about Vietnam through their use of specific metafictional techniques, which continually remind readers and viewers that the story being told is not reality but a story. By emphasizing the fictional elements of their narratives, Apocalypse Now and The Things They Carried point to the constructed nature of reality and empower readers to recognize the possibility of truth in different, even conflicting, narratives.

This thesis examines the changing perceptions of Vietnam’s landscape and the Vietnamese in the eyes of American troops throughout the Vietnam War. Throughout the late 1950s and early 1960s, the Vietnamese were depicted as a people misguided by the French and in need of political mobilization by the American media and government. Following heavy investment and a rigged election in 1956, South Vietnam was painted as a beacon of democracy in Southeast Asia and an example of what American aid is capable of. As an increasing American military presence was being established in South Vietnam in the early 1960s, American troops were reminded by pocket books and other forms of American propaganda that South Vietnam was a land of dignity and respect. At first, troops were shocked by the beauty of the landscape and recalled that Vietnam did not look like a war-torn country at all. Yet as the land became increasingly devastated due to defoliant and numerous bombings, the perceptions of the Vietnamese took a turn for the worst; eventually being subhuman and deceptive. Vietnam’s landscape became perceived as a land of death where youth was expendable. However, less than a decade after the United States had pulled out of Vietnam, veterans and those affected by the war begin to return in mass numbers constituting the largest population of Americans in Vietnam. This resulted in Vietnam’s landscape, which was seen as a land trap-laden wasteland, being seen a place of healing with a beautiful people that Americans helped save.

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