https://doi.org/10.31261/rias.22859
This article examines the global afterlives of the Vietnam/American War through the intertwined lenses of photography, cinema, and Cold War cultural circulation. Beginning with Chris Niedenthal’s iconic 1981 photograph of an armored SKOT before Warsaw’s Kino Moskwa during martial law, the essay analyzes how a contingent act of witnessing became a visual allegory that re-situated the American War within Poland’s own history of repression. Drawing on Barthes’s concepts of studium and punctum, it argues that the image’s enduring force lies in the tension between the photographer’s embodied immediacy and the mythological readings later attached to it. Juxtaposed with globally circulating images such as Eddie Adams’s “Saigon Execution” and Nick Ut’s “Napalm Girl,” Niedenthal’s photograph becomes a case study in the transnational migration of wartime imagery and the asymmetries that structure public memory. The essay then turns to Vietnamese, Vietnamese-American, and Vietnamese-Polish literary and artistic archives, highlighting how these testimonies unsettle the dominance of American cinematic narratives that have long framed the war as an American psychological event rather than a Vietnamese historical catastrophe. The conclusion outlines a hemispheric and transoceanic framework for the Review of International American Studies, urging contributors to explore the war’s dispersed legacies as a shared, global archive of memory, representation, and resistance.
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Vol. 18 No. 2 (2025)
Published: 2026-01-09
10.31261/RIAS
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
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