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Shadows and Wind
1 HUMAN RIGHTS UNDER VIETNAMESE COMMUNISM A Politically Incorrect Approach Ottawa, February 2001 For Human Rights (Huntington Beach, C.A.) March 2001 Ton That Thien American anti-war writers and Vietnam For decades, the literature on Vietnam was strongly dominated by a coterie of Western - predominantly American – journalists and academics who claimed to be experts on Vietnam. These “experts” were fiercely anti-war revolutionaries determined to bring down South Vietnam for internal American reasons. South Vietnam provided the most convenient focus for the anti-war denunciations and demonstrations. As David Horowitz, one of the most radical leaders of the American anti-war movement wrote in his reflections after the war: “My speech illustrated the real importance of Vietnam to the radical cause, which was not ultimately about Vietnam but about our antagonism to America in our desire for revolution. Vietnam served to justify the desire; we needed the war and its violent images to vindicate our destructive intentions”.1 Typical of the above attitude is the “Indo-China Peace Campaign” organized by the famed actress Jane Fonda, which “worked tirelessly to ensure the victory of the North Vietnamese Communists...Fonda travelled first to Hanoi and then to the liberated zones of South Vietnam to make a propaganda film... it attempted to persuade viewers that the Communists were going to create a new society in the south. Equality and justice awaited its inhabitants if only America would cut off support for the Saigon regime...”2 Another illustration is that of Frances Fitzgerald, author of the best seller and Pulitzer Prize winning book, Fire in the Lake. -
Catering to the Silent Majority the My Lai Massacre As a Media Challenge
JANA TOPPE Catering to the silent majority The My Lai massacre as a media challenge Free University of Berlin 10.10.2011 Intensive Program: "Coming Together or Coming Apart? Europe and the United States in the Sixties" September 12 – 24, 2011 Session 6: Lessons of Vietnam and Military Reform Session Chair: Professor Dr. Mark Meigs, Université de Paris-Diderot Table of contents 1 Introduction…………………………………………………..…1 2 Vietnam, the administrations and the media…………….….…..2 2.1 Bone of contention: media coverage of Cam Ne…….……..2 2.2 Nixon, Agnew and the troubles of television………………4 2.3 Expendable lives: Media dehumanization………...………..7 3 Uncovering the atrocities of My Lai……………………….….10 3.1 The media‟s role in publishing the massacre – a tale of hesitancy and caution……………………………....11 3.2 Source: “The My Lai Massacre” - Time, Nov. 28, 1969….17 4 Conclusion…………………………………………………….19 5 Bibliography…………………………………………………..22 5.1 Sources……………………………………………...……..22 5.2 Secondary Literature………………………………..……..22 6 Appendix………………………………………………………23 Jana Toppe 1 Catering to the silent majority 1. Introduction In March 1968, the men of Charlie Company entered the village of My Lai under the command of First Lieutenant William Calley with the objective to „search and destroy‟ the Viet Cong believed to reside there. The village was instead populated by unarmed South Vietnamese civilians, mostly women and children, who were then massacred by Charlie Company. The incident was kept under wraps by the military for a year until an investigative journalist, Seymour Hersh, uncovered the story in 1969. The revelation of the My Lai cover-up and the expanding press coverage was not the watershed moment or turning point in press coverage as one may be tempted to think. -
The Global Visual Memory a Study of the Recognition and Interpretation of Iconic and Historical Photographs
The Global Visual Memory A Study of the Recognition and Interpretation of Iconic and Historical Photographs Het Mondiaal Visueel Geheugen Een studie naar de herkenning en interpretatie van iconische en historische foto’s (met een samenvatting in het Nederlands) Proefschrift ter verkrijging van de graad van doctor aan de Universiteit Utrecht op gezag van de rector magnificus, prof.dr. H.R.B.M. Kummeling, ingevolge het besluit van het college voor promoties in het openbaar te verdedigen op woensdag 19 juni 2019 des middags te 2.30 uur door Rutger van der Hoeven geboren op 4 juni 1974 te Amsterdam Promotor: Prof. dr. J. Van Eijnatten Table of Contents Abstract 2 Preface 3 Introduction 5 Objectives 8 Visual History 9 Collective Memory 13 Photographs as vehicles of cultural memory 18 Dissertation structure 19 Chapter 1. History, Memory and Photography 21 1.1 Starting Points: Problems in Academic Literature on History, Memory and Photography 21 1.2 The Memory Function of Historical Photographs 28 1.3 Iconic Photographs 35 Chapter 2. The Global Visual Memory: An International Survey 50 2.1 Research Objectives 50 2.2 Selection 53 2.3 Survey Questions 57 2.4 The Photographs 59 Chapter 3. The Global Visual Memory Survey: A Quantitative Analysis 101 3.1 The Dataset 101 3.2 The Global Visual Memory: A Proven Reality 105 3.3 The Recognition of Iconic and Historical Photographs: General Conclusions 110 3.4 Conclusions About Age, Nationality, and Other Demographic Factors 119 3.5 Emotional Impact of Iconic and Historical Photographs 131 3.6 Rating the Importance of Iconic and Historical Photographs 140 3.7 Combined statistics 145 Chapter 4. -
The Pulitzer Prizes for International Reporting in the Third Phase of Their Development, 1963-1977
INTRODUCTION THE PULITZER PRIZES FOR INTERNATIONAL REPORTING IN THE THIRD PHASE OF THEIR DEVELOPMENT, 1963-1977 Heinz-Dietrich Fischer The rivalry between the U.S.A. and the U.S.S.R. having shifted, in part, to predomi- nance in the fields of space-travel and satellites in the upcoming space age, thus opening a new dimension in the Cold War,1 there were still existing other controversial issues in policy and journalism. "While the colorful space competition held the forefront of public atten- tion," Hohenberg remarks, "the trained diplomatic correspondents of the major newspa- pers and wire services in the West carried on almost alone the difficult and unpopular East- West negotiations to achieve atomic control and regulation and reduction of armaments. The public seemed to want to ignore the hard fact that rockets capable of boosting people into orbit for prolonged periods could also deliver atomic warheads to any part of the earth. It continued, therefore, to be the task of the responsible press to assign competent and highly trained correspondents to this forbidding subject. They did not have the glamor of TV or the excitement of a space shot to focus public attention on their work. Theirs was the responsibility of obliging editors to publish material that was complicated and not at all easy for an indifferent public to grasp. It had to be done by abandoning the familiar cliches of journalism in favor of the care and the art of the superior historian .. On such an assignment, no correspondent was a 'foreign' correspondent. The term was outdated. -
Thi Bui's the Best We Could Do: a Teaching Guide
Thi Bui’s The Best We Could Do: A Teaching Guide The UO Common Reading Program, organized by the Division of Undergraduate Studies, builds community, enriches curriculum, and engages research through the shared reading of an important book. About the 2018-2019 Book A bestselling National Book Critics Circle Finalist, Thi Bui’s The Best We Could Do offers an evocative memoir about the search for a better future by seeking to understand the past. The book is a marvelous visual narrative that documents the story of the Bui family escape after the fall of South Vietnam in the 1970s, and the difficulties they faced building new lives for themselves as refugees in America. Both personal and universal, the book explores questions of community and family, home and healing, identity and heritage through themes ranging from the refugee experience to parenting and generational changes. About the Author Thi Bui is an author, illustrator, artist, and educator. Bui was born in Vietnam three months before the end of the Vietnam War and came to the United States in 1978 as part of a wave of refugees from Southeast Asia. Bui taught high school in New York City and was a founding teacher of Oakland International High School, the first public high school in California for recent immigrants and English learners. She has taught in the MFA in Comics program at California College for the Arts since 2015. The Best We Could Do (Abrams ComicArts, 2017) is her debut graphic novel. She is currently researching a work of graphic nonfiction about climate change in Vietnam. -
STUDY GUIDE Prepared by Maren Robinson, Dramaturg
by Susan Felder directed by William Brown STUDY GUIDE Prepared by Maren Robinson, Dramaturg This Study Guide for Wasteland was prepared by Maren Robinson and edited by Kerri Hunt and Lara Goetsch for TimeLine Theatre, its patrons and educational outreach. Please request permission to use these materials for any subsequent production. © TimeLine Theatre 2012 — STUDY GUIDE — Table of Contents About the Playwright ........................................................................................ 3 About the Play ................................................................................................... 3 The Interview: Susan Felder ............................................................................ 4 Glossary ............................................................................................................ 11 Timeline: The Vietnam War and Surrounding Historical Events ................ 13 The History: Views on Vietnam ...................................................................... 19 The Context: A New Kind of War and a Nation Divided .............................. 23 Prisoners of War and Torture ......................................................................... 23 Voices of Prisoners of War ............................................................................... 24 POW Code of Conduct ..................................................................................... 27 Enlisted vs. Drafted Soldiers .......................................................................... 28 The American -
PROCEEDINGS of the 120TH NATIONAL CONVENTION of the VETERANS of FOREIGN WARS of the UNITED STATES
116th Congress, 2d Session House Document 116–165 PROCEEDINGS of the 120TH NATIONAL CONVENTION OF THE VETERANS OF FOREIGN WARS OF THE UNITED STATES (SUMMARY OF MINUTES) Orlando, Florida ::: July 20 – 24, 2019 116th Congress, 2d Session – – – – – – – – – – – – – House Document 116–165 THE PROCEEDINGS OF THE 120TH NATIONAL CON- VENTION OF THE VETERANS OF FOREIGN WARS OF THE UNITED STATES COMMUNICATION FROM THE ADJUTANT GENERAL, THE VETERANS OF FOREIGN WARS OF THE UNITED STATES TRANSMITTING THE PROCEEDINGS OF THE 120TH NATIONAL CONVENTION OF THE VETERANS OF FOREIGN WARS OF THE UNITED STATES, HELD IN ORLANDO, FLORIDA: JULY 20–24, 2019, PURSUANT TO 44 U.S.C. 1332; (PUBLIC LAW 90–620 (AS AMENDED BY PUBLIC LAW 105–225, SEC. 3); (112 STAT. 1498) NOVEMBER 12, 2020.—Referred to the Committee on Veterans’ Affairs and ordered to be printed U.S. GOVERNMENT PUBLISHING OFFICE 40–535 WASHINGTON : 2020 U.S. CODE, TITLE 44, SECTION 1332 NATIONAL ENCAMPMENTS OF VETERANS’ ORGANIZATIONS; PROCEEDINGS PRINTED ANNUALLY FOR CONGRESS The proceedings of the national encampments of the United Spanish War Veterans, the Veterans of Foreign Wars of the United States, the American Legion, the Military Order of the Purple Heart, the Veterans of World War I of the United States, Incorporated, the Disabled American Veterans, and the AMVETS (American Veterans of World War II), respectively, shall be printed annually, with accompanying illustrations, as separate House documents of the session of the Congress to which they may be submitted. [Approved October 2, 1968.] ii LETTER OF TRANSMITTAL VETERANS OF FOREIGN WARS OF THE UNITED STATES KANSAS CITY, MISSOURI September, 2020 Honorable Nancy Pelosi The Speaker U. -
The Legacy of American Photojournalism in Ken Burns's
Interfaces Image Texte Language 41 | 2019 Images / Memories The Legacy of American Photojournalism in Ken Burns’s Vietnam War Documentary Series Camille Rouquet Electronic version URL: http://journals.openedition.org/interfaces/647 DOI: 10.4000/interfaces.647 ISSN: 2647-6754 Publisher: Université de Bourgogne, Université de Paris, College of the Holy Cross Printed version Date of publication: 21 June 2019 Number of pages: 65-83 ISSN: 1164-6225 Electronic reference Camille Rouquet, “The Legacy of American Photojournalism in Ken Burns’s Vietnam War Documentary Series”, Interfaces [Online], 41 | 2019, Online since 21 June 2019, connection on 07 January 2021. URL: http://journals.openedition.org/interfaces/647 ; DOI: https://doi.org/10.4000/interfaces.647 Les contenus de la revue Interfaces sont mis à disposition selon les termes de la Licence Creative Commons Attribution 4.0 International. THE LEGACY OF AMERICAN PHOTOJOURNALISM IN KEN BURNS’S VIETNAM WAR DOCUMENTARY SERIES Camille Rouquet LARCA/Paris Sciences et Lettres In his review of The Vietnam War, the 18-hour-long documentary series directed by Ken Burns and Lynn Novick released in September 2017, New York Times television critic James Poniewozik wrote: “The Vietnam War” is not Mr. Burns’s most innovative film. Since the war was waged in the TV era, the filmmakers rely less exclusively on the trademark “Ken Burns effect” pans over still images. Since Vietnam was the “living-room war,” played out on the nightly news, this documentary doesn’t show us the fighting with new eyes, the way “The War” did with its unearthed archival World War II footage. -
Wanting, Not Waiting
WINNERSdateline OF THE OVERSEAS PRESS CLUB AWARDS 2011 Wanting, Not Waiting 2012 Another Year of Uprisings SPECIAL EDITION dateline 2012 1 letter from the president ne year ago, at our last OPC Awards gala, paying tribute to two of our most courageous fallen heroes, I hardly imagined that I would be standing in the same position again with the identical burden. While last year, we faced the sad task of recognizing the lives and careers of two Oincomparable photographers, Tim Hetherington and Chris Hondros, this year our attention turns to two writers — The New York Times’ Anthony Shadid and Marie Colvin of The Sunday Times of London. While our focus then was on the horrors of Gadhafi’s Libya, it is now the Syria of Bashar al- Assad. All four of these giants of our profession gave their lives in the service of an ideal and a mission that we consider so vital to our way of life — a full, complete and objective understanding of a world that is so all too often contemptuous or ignorant of these values. Theirs are the same talents and accomplishments to which we pay tribute in each of our awards tonight — and that the Overseas Press Club represents every day throughout the year. For our mission, like theirs, does not stop as we file from this room. The OPC has moved resolutely into the digital age but our winners and their skills remain grounded in the most fundamental tenets expressed through words and pictures — unwavering objectivity, unceasing curiosity, vivid story- telling, thought-provoking commentary. -
The Vietnam War in the American Mind, 1975-1985 Mark W
University of Richmond UR Scholarship Repository Master's Theses Student Research 8-1989 Half a memory : the Vietnam War in the American mind, 1975-1985 Mark W. Jackley Follow this and additional works at: http://scholarship.richmond.edu/masters-theses Recommended Citation Jackley, Mark W., "Half a memory : the Vietnam War in the American mind, 1975-1985" (1989). Master's Theses. Paper 520. This Thesis is brought to you for free and open access by the Student Research at UR Scholarship Repository. It has been accepted for inclusion in Master's Theses by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. Half A Memory: The Vietnam War In The American Mind, 1975 - 1985 Mark W. Jackley Submitted for the Degree of Master of Arts in History University of Richmond, 1989 Dr. Barry Westin, Thesis Director This study attempts to show how Americans in general remembered the Vietnam War from 1975 to 1985, the decade after it ended. A kind of social history, the study concentrates on the war as remembered in the popular realm, examining novels as well as nonfiction, poetry, plays, movies, articles in political journals, songs, memorials, public opinion polls and more. Most everything but academic history is discussed. The study notes how the war's political historY. was not much remembered; the warrior, not the war, became the focus of national memory. The study argues that personal memory predominated over political memory for a number of reasons, the most important being the relative unimportance of the nation of Vietnam to most Americans. -
Bearing Witness to the Inhuman at Mỹ Lai: Museum, Ritual, Pilgrimage
Vietnam: Memories and Meaning How to Cite: Tamashiro, Roy. 2018. Bearing Witness to the Inhuman at Mỹ Lai: Museum, Ritual, Pilgrimage. ASIANetwork Exchange, 25(1), pp. 60–79, DOI: https://doi.org/10.16995/ane.267 Published: 31 May 2018 Peer Review: This article has been peer reviewed through the double-blind process of ASIANetwork Exchange, which is a journal of the Open Library of Humanities. Copyright: © 2018 The Author(s). This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. See http://creativecommons.org/licenses/by/4.0/. Open Access: ASIANetwork Exchange is a peer-reviewed open access journal. Digital Preservation: The Open Library of Humanities and all its journals are digitally preserved in the CLOCKSS scholarly archive service. The Open Library of Humanities is an open access non-profit publisher of scholarly articles and monographs. Roy Tamashiro ‘Bearing Witness to the Inhuman at Mỹ Lai: Museum, Ritual, Pilgrimage’ (2018) 25(1), pp. 60–79 ASIANetwork Exchange, DOI: https://doi.org/10.16995/ane.267 VIETNAM: MEMORIES AND MEANING Bearing Witness to the Inhuman at Mỹ Lai: Museum, Ritual, Pilgrimage Roy Tamashiro Webster University, US [email protected] This article explores how the Sơn Mỹ Memorial and Museum and its associated community activities and programs commemorate and memorialize the 1968 Mỹ Lai Massacre and its aftermath. The museum provides space for reflection and bearing witness to the profound suffering in the Massacre. -
1997 Sundance Film Festival Awards Jurors
1997 SUNDANCE FILM FESTIVAL The 1997 Sundance Film Festival continued to attract crowds, international attention and an appreciative group of alumni fi lmmakers. Many of the Premiere fi lmmakers were returning directors (Errol Morris, Tom DiCillo, Victor Nunez, Gregg Araki, Kevin Smith), whose earlier, sometimes unknown, work had received a warm reception at Sundance. The Piper-Heidsieck tribute to independent vision went to actor/director Tim Robbins, and a major retrospective of the works of German New-Wave giant Rainer Werner Fassbinder was staged, with many of his original actors fl own in for forums. It was a fi tting tribute to both Fassbinder and the Festival and the ways that American independent cinema was indeed becoming international. AWARDS GRAND JURY PRIZE JURY PRIZE IN LATIN AMERICAN CINEMA Documentary—GIRLS LIKE US, directed by Jane C. Wagner and LANDSCAPES OF MEMORY (O SERTÃO DAS MEMÓRIAS), directed by José Araújo Tina DiFeliciantonio SPECIAL JURY AWARD IN LATIN AMERICAN CINEMA Dramatic—SUNDAY, directed by Jonathan Nossiter DEEP CRIMSON, directed by Arturo Ripstein AUDIENCE AWARD JURY PRIZE IN SHORT FILMMAKING Documentary—Paul Monette: THE BRINK OF SUMMER’S END, directed by MAN ABOUT TOWN, directed by Kris Isacsson Monte Bramer Dramatic—HURRICANE, directed by Morgan J. Freeman; and LOVE JONES, HONORABLE MENTIONS IN SHORT FILMMAKING directed by Theodore Witcher (shared) BIRDHOUSE, directed by Richard C. Zimmerman; and SYPHON-GUN, directed by KC Amos FILMMAKERS TROPHY Documentary—LICENSED TO KILL, directed by Arthur Dong Dramatic—IN THE COMPANY OF MEN, directed by Neil LaBute DIRECTING AWARD Documentary—ARTHUR DONG, director of Licensed To Kill Dramatic—MORGAN J.