Abstract
ABSTRACT After the end of war in Vietnam, Vietnamese Americans debate the balance between artistic freedom and Cold War politics. How do community arts organizers continue their work after anticommunist backlash? To answer this, I conducted participant observation and interviews with organizers of the Vietnamese International Film Festival in California. I analyze how children of refugees inherit the legacies of war outside of the family setting. Through community arts organizing, Vietnamese Americans come to understand their ethnic nation as a militarized imagined family. This view demands deference to the figure of the male refugee soldier – at the expense of the daughterly figure.
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