越南戰爭的戰後記憶亟需受後代從不同角度重新檢視。對越裔美國人而言，戰後記憶不曾遠去。本論文旨在討論1.5代越裔美籍藝術家作品中的政治及歷史意義。本論文分為五章節。第一章我定義1.5代越裔美籍人及強調其在越美(Vietnamese America)架構之下的重要性。第二章我檢視1.5代作家阮堅和杜光程的回憶錄《見棄之人：兒時回憶錄》(2002)和《西貢到聖地牙哥：一個男孩逃離共產越南的回憶錄》(2004)中的船民經驗，以及南越人在新經濟區、勞改營所受的政治迫害。我意在論證1.5代越裔美籍作家如何藉由對抗論述 (counter-discourse)重申這些記憶。第三章著眼在《見棄之人：兒時回憶錄》中的童年政治(the cultural politics of childhood)與歷史創傷(historical trauma)。我闡明美亞人(Amerasians)及其母親在七零到八零年代的生活困境，以及分析兩位作家提供的兒時照片如何扮演記憶場景(sites of memory)。第四章探討五部非好萊塢電影，包含《戀戀三季》(1999)、《母語與祖國》(2005)、《陷落的旅程》(2006)、《穿白絲綢的女人》(2007)、《噢，西貢》(2007)。我分析電影中1.5代導演如何重演創傷、再現越南人，我也闡明這些作品在越美架構之下展演越裔美籍人及重建社群歷史。第五章我總結1.5代越裔美籍藝術家為其社群的記憶傳承者，我也重申歷史重建在越美社群的重要性。

This thesis aims to demonstrate the haunting past represented by the 1.5 generation Vietnamese American artists. I define in the first chapter the unique status of the 1.5 generation Vietnamese Americans. In the second chapter, I examine the political imprisonment in the reeducation camps, the failed policy of the New Economic Zones, and the microhistories of the boat people embodied in Kien Nguyen’s The Unwanted: A Memoir of Childhood (2002) and Trinh Quang Do’s Saigon to San Diego: Memoir of a Boy Who Escaped from Communist Vietnam (2004). In Chapter Three, I discuss the cultural politics of childhood in Nguyen’s and Do’s autobiographical practices. I examine the myth of childhood and its relation to historical trauma incurred by Nguyen’s biraciality. In the fourth chapter, I demonstrate the representations of the 1.5 generation Vietnamese American directors through their cinematic productions, including Three Seasons (1999), Mother Tongue, Fatherland (2005), Journey from the Fall (2006), The White Silk Dress (2007), and Oh, Saigon (2007). I conclude by the triple vision of the 1.5 generation Vietnamese Americans and punctuate, as the two memoirists and the five filmmakers do, that the war memories are still ongoing, operative and demanding that history be reconfigured.

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