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Relevant bibliographies by topics / War and film

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Academic literature on the topic 'War and film'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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Journal articles on the topic "War and film"

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Frølunde, Lisbeth. "Animated war." Convergence: The International Journal of Research into New Media Technologies 18, no. 1 (January 31, 2012): 93–103. http://dx.doi.org/10.1177/1354856511419918.

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In this feature article two DIY (do-it-yourself) film projects are examined from perspectives of resemiosis (transformations in meaning-making) and the textual production practices of contemporary multimedia authorship. These practices are considered as evolving in a complex media ecology. The two films analysed are Gzim Rewind (Sweden, 2011) by Knutte Wester, and In-World War (USA, expected 2011) by DJ Bad Vegan. The films are currently in production and involve many collaborators. Both films have themes of war and include film scenes that are ‘machinima’ – real-time animation made in 3D graphic environments – within live action film scenes. Machinima harnesses the possibilities of reappropriating digital software, game engines, and other tools available in digital media. War-related stories are resemiotized in the machinima film scenes as meanings are transformed in the story’s shift from a war game context to a film context. Thus machinima exemplifies how DIY multimedia storytellers explore new ways to tell and to ‘animate’ stories. The article contains four parts: an introduction to machinima and the notions of resemiosis and authorial practice; a presentation of DIY filmmaking as a practice that intertwines with new networked economics; an analysis of the two DIY film projects; and a discussion of implications including issues relating to IP (intellectual property) and copyrights when reappropriating digital assets from commercial media platforms.

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Chopra-Gant, Mike. "War and Film." Historical Journal of Film, Radio and Television 31, no. 1 (March 2011): 96–98. http://dx.doi.org/10.1080/01439685.2011.553421.

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Saucier, Jeremy K. "War and Film." Journal of Popular Culture 44, no. 1 (February 2011): 187–89. http://dx.doi.org/10.1111/j.1540-5931.2010.00826_5.x.

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Curley, Stephen J., and Frank J. Wetta. "War Film Bibliography." Journal of Popular Film and Television 18, no. 2 (April 1990): 72–79. http://dx.doi.org/10.1080/01956051.1990.9943657.

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Yatagai, Fumie. "War Memory and Mizoguchi’s Film." Tribhuvan University Journal 29, no. 1 (March 31, 2016): 41–46. http://dx.doi.org/10.3126/tuj.v29i1.25669.

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This paper focuses on the Japanese film director called Kenji Mizoguchi who worked not only the making films but gave the caricature impact to the Japanese society. He was touching with the Japanese philosophy and spirit before and after the World War II. He described the common life of the Japanese life, especially tracing on how the women were dis-treated because of the context of the machismo in the public and at home. Also, the women were prohibited to have good education. The Japanese women at that time had a harsh moment to find their identity. For instance, as I experienced the poverty and discriminations just to be a women, Mizoguchi’s film encouraged me and opened a door to the new life.

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Pērkone, Inga. "War and Women in Jānis Streičs’ Films." Baltic Screen Media Review 6, no. 1 (December 1, 2018): 56–70. http://dx.doi.org/10.2478/bsmr-2018-0004.

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Abstract This article is devoted to the theme of women and war in the films of Jānis Streičs, possibly the most influential Latvian film director. In the course of his career, which spanned nearly 50 years, Streičs made films that were popular in Latvia, as well as throughout the Soviet Union. He is one of the few Latvian film directors who managed to continue a comparatively stable career in the newly reindependent Republic of Latvia. Streičs skilfully used the canonised means of expression of classical cinema and superficially fulfilled the demands of socialist realism to provide appealing and life-asserting narratives for the audiences. Being a full-time film director at Riga Film Studio, and gradually becoming a master of the studio system, Jānis Streičs managed to subordinate the system to his own needs, outgrowing it and becoming an auteur with an idiosyncratic style and consistently developed topics.1 The most expressive elements of his visual style can be found in his war films, which are presented as women’s reflections on war. In this article, Streičs’ oeuvre in its entirety provides the background for an analysis of two of his innovative war films. Meetings on the Milky Way (Tikšanās uz Piena ceļa, Latvia, 1985) rejects the classical narrative structure, instead offering fragmentary war episodes that were united by two elements – the road and women. In Carmen Horrendum (Latvia, 1989) Streičs uses an even more complicated structure that combines reality, visions and dreams. After watching this film, the only conclusion we can come to with certainty is that war does not have a woman’s face and, in general, war has no traces of humanity. The aim of this article is to demonstrate how World War II, a theme stringently controlled by Soviet ideology, provided the impetus for a search for an innovative film language.

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White, Jerry. "Cold War Contexts: Pawlikowski in Film, Television, and European History." Film Quarterly 72, no. 3 (2019): 44–51. http://dx.doi.org/10.1525/fq.2019.72.3.44.

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Jerry White compares Paweł Pawlikowski's new film Zimna wojna (Cold War, 2018) to Karpo Godina's classic Slovenian film Rdeči boogie ali Kaj ti je deklica (Red Boogie, 1982), discussing the narrative and thematic continuities between the two films in the context of Cold War history and cinema. White also explores Pawlikowski's prior incarnation as a British documentary filmmaker named Paul to suggest a curious evolution; that in returning to his native Poland in his most recent films (Cold War and Ida), Pawlikowski has gone astray, abandoning the authenticity of his early British films such as Last Resort for a muddled romantic vision.

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Shull, Michael S. "The War Film (review)." Film & History: An Interdisciplinary Journal of Film and Television Studies 36, no. 2 (2006): 63–65. http://dx.doi.org/10.1353/flm.2006.0036.

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Shindler, Colin. "The Hollywood War Film." Historical Journal of Film, Radio and Television 30, no. 2 (June 2010): 231–33. http://dx.doi.org/10.1080/01439681003779226.

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Ross, Rodney J. "The War Film (review)." Journal of Military History 69, no. 3 (2005): 896–97. http://dx.doi.org/10.1353/jmh.2005.0186.

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Dissertations / Theses on the topic "War and film"

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Gladman, Matthew J. "Film Noir--Purveyor of Cold War Anxiety." Ohio University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1293817877.

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Castrillo, Pablo Ignacio. "Angel Of War." Digital Commons at Loyola Marymount University and Loyola Law School, 2013. https://digitalcommons.lmu.edu/etd/9.

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Garcia-Painter, Meredith. "The Wedding War." Digital Commons at Loyola Marymount University and Loyola Law School, 2019. https://digitalcommons.lmu.edu/etd/784.

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Randell, Karen Mary. "Hollywood and war : trauma in film after the First World War and the Vietnam War." Thesis, University of Southampton, 2003. https://eprints.soton.ac.uk/50596/.

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This thesis examines war trauma in film; it is a comparative reading that aims to study the relationship between films made after the First World War in the 1920s and films made during and after the Vietnam War. I use thirteen focus film texts, some which explicitly engage with war and some that do not. This thesis will argue that the production of these particular films was inflected by the collective trauma that the wars produced in American society. There was not, for example, an explicit combat film made for seven years after the First World War and thirteen years after the Vietnam War. This gap, I will argue, is symptomatic of the cultural climate that existed after each war, but can also be understood in terms of the need for temporal space in which to assimilate the traumas of these wars. An engagement with recent debates in Trauma Theory will be utilised to explore this production gap between event and film, and to suggest that trauma exists not only within the narratives of these focus films but also within the production process itself. This thesis contributes significantly to recent debates in Trauma Studies. As it presents film history scholarship, First World War and Vietnam veteran experiences and archive newspaper research as compatible disciplines and uses the lens of trauma theory as a methodological thread and tool of analysis.

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Boyle, Brenda Marie. "Prisoners of war formations of masculinities in Vietnam war fiction and film /." Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1060873937.

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Fagan, Calvin. "Embodying virtual war : digital technology and subjectivity in the contemporary war film." Thesis, Queen Mary, University of London, 2017. http://qmro.qmul.ac.uk/xmlui/handle/123456789/24593.

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Addressing a perceived absence of critical attention to changes in the war film brought about by the advent of the digital, this thesis aims to construct an original study of contemporary (post-2001) US war cinema by exploring the shifting relationship between embodiment, subjectivity and digital (military-technological) mediation. In order to update the critical framework necessary for comprehending how the war film is altered by the remediation of digitised military interfaces, I draw on a highly diverse set of approaches ranging from journalistic accounts of the wars in Iraq (2003-11) and Afghanistan (2001-present), studies of military technologies from Paul Virilio to Derek Gregory and Pasi Väliaho, as well as film/media studies work on ethics and spectatorship. The corpus is similarly diverse, encompassing mainstream genre films such as Zero Dark Thirty (2012), documentaries, and gallery installations by Omer Fast and Harun Farocki, thus offering a comprehensive and inclusive portrait of contemporary cinematic trends. The thesis begins by identifying the genre's post-Vietnam turn to embodied, subjective experience and explores the continuation of this tendency through films such as The Hurt Locker (2008) and its complicity with phenomena such as journalistic embedding. Subsequently, I trace how drones and simulations radically alter conventional cinematic constructions of subjective perceptual experience through readings of Omer Fast's Five Thousand Feet is the Best (2011) and Harun Farocki's Serious Games (2009-10), noting in particular the emergence of the virtualised yet embodied 'presence' of the drone operator and the conditioning of trans-subjective, cybernetic networks via CG simulations. Finally, I turn to the remediation of various digital interfaces in films such as Redacted (2007), comparing the emergent models of military subjectivity discussed in the previous chapters with the spectatorial positions evoked by this hypermediated aesthetic.

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Rositzka, Eileen. "The cinematic corpography of war : re-mapping the war film through the body." Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/13075.

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In this thesis, I explore the ways the sensory experience of war is staged as a corporeal apprehension of space in the Hollywood war film. Placing an emphasis on films that foreground tactile, and sonic experience in combat as a key dimension of symbolic meaning in the depiction of war, I move beyond the emphasis on optics and weaponised vision that has largely dominated contemporary writing on war and cinema in order to highlight the wider sensory field that is powerfully evoked in this genre. In my conception of war cinema as representing a somatic experience of space, I am applying a term recently developed by Derek Gregory within the theoretical framework of Critical Geography. What he calls “corpography” implies a constant re-mapping of landscape through the soldier's body. Gregory's assumptions can be used as a connection between already established theories of cartographic film narration and ideas of (neo)phenomenological film experience, as they also imply the involvement of the spectator's body in sensuously grasping what is staged as a mediated experience of war. While cinematic codes of war have long been oriented almost exclusively to the visual, the notion of corpography can help to reframe the concept of film genre in terms of expressive movement patterns and genre memory, avoiding reverting to the usual taxonomies of generic texts. The thesis focuses on selected films exemplary of the aesthetic continuities and changes in American cinema's audio-visual representation of war (with each chapter centring on a specific military conflict and historical constellation): All Quiet on the Western Front (1930), Paths of Glory (1957), Objective, Burma! (1945), Fury (2014), Men in War (1957), The Boys in Company C (1978), Rescue Dawn (2006), and Zero Dark Thirty (2012).

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Enticknap, Leo Douglas Graham. "The non-fiction film in post-war Britain." Thesis, University of Exeter, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302538.

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Steinwender, Harald. "Sergio Leone Es war einmal in Europa." Berlin Bertz + Fischer, 2008. http://d-nb.info/994036965/04.

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Rehm, David. "Hero at war and survivor at home| The evolving image of the American war hero in Iraq and Afghanistan war films." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1597788.

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Media and culture are interrelated, which shapes what is culturally relevant. War films reflect a culture?s view on war as well as the viability of a culture?s mythology of war. Grounded in the concepts of war myth and genre, this thesis takes the stance that the Iraq and Afghanistan War film genre transforms the image of the American warrior. Iraq and Afghanistan War films, specifically The Hurt Locker, Green Zone, Lone Survivor, and American Sniper illuminate the destructive reality of war and the humanness of the warrior hero. They reaffirm the warrior?s heroism and sacrifice while also acknowledging war as damaging to the warrior?s psyches, hearts, minds, and bodies.

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Books on the topic "War and film"

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The Hollywood war film. Malden, MA: Wiley-Blackwell, 2009.

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Early, Emmett. The war veteran in film. Jefferson, NC: McFarland, 2003.

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Britain), Imperial War Museum (Great. Imperial War Museum film catalogue. Westport, Conn: Greenwood Press, 1994.

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The war veteran in film. Jefferson, N.C: McFarland, 2003.

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Olla, Roberto. Combat film. Milano: RAI ERI, 1997.

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Tholas, Clémentine, Janis L. Goldie, and Karen A. Ritzenhoff, eds. New Perspectives on the War Film. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-23096-8.

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Cunningham, Douglas A., and John C. Nelson, eds. A Companion to the War Film. Hoboken, NJ: John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118337653.

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The American Civil War and the Hollywood war film. New York, NY: Palgrave Macmillan, 2015.

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Trafton, John. The American Civil War and the Hollywood War Film. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1007/978-1-137-49702-4.

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1947-, MacDonald Karen, ed. Reel men at war: Masculinity and the American war film. Lanham, Md: Scarecrow Press, 2011.

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Book chapters on the topic "War and film"

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Sorlin, Pierre. "Film and the War." In A Companion to World War I, 353–67. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444323634.ch24.

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Hindle, Maurice. "The Fifties: Post-war Diversity." In Shakespeare on Film, 34–39. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-53172-8_9.

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Trafton, John. "Photography and the War Film." In The American Civil War and the Hollywood War Film, 93–121. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1007/978-1-137-49702-4_5.

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Gormley, Paul. "Blowing Up the War Film." In A Companion to the Action Film, 364–80. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2019. http://dx.doi.org/10.1002/9781119100744.ch19.

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Trafton, John. "Civil War Epistolary and the Hollywood War Film." In The American Civil War and the Hollywood War Film, 143–57. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1007/978-1-137-49702-4_7.

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Garofolo, John. "War Films in an Age of War and Cinema." In A Companion to the War Film, 36–55. Hoboken, NJ: John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118337653.ch3.

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Forshaw, Barry. "The Age of Austerity: Post-War Crime Films." In British Crime Film, 16–23. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137274595_2.

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Trafton, John. "War Photography." In The American Civil War and the Hollywood War Film, 71–92. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1007/978-1-137-49702-4_4.

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Akira, Shimizu. "War and Cinema in Japan." In The Japan/America Film Wars, 7–58. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003205289-2.

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Hassoun, Dan. "A War for Everyone." In A Companion to the War Film, 385–403. Hoboken, NJ: John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118337653.ch23.

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Conference papers on the topic "War and film"

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Wang, Hongwei. "Analysis of the Anti War Thought from Animated Film." In 2014 International Conference on Education, Management and Computing Technology (ICEMCT-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icemct-14.2014.90.

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Kucera, Erik, Oto Haffner, Roman Leskovsky, Jakub Matisak, Peter Drahos, and Erich Stark. "Popularization of Mechatronics by Fan Film Inspired by Avengers: Infinity War." In 2020 Cybernetics & Informatics (K&I). IEEE, 2020. http://dx.doi.org/10.1109/ki48306.2020.9039801.

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Bono, Francesco. "IMAGES OF THE GREAT WAR: NOTES ON THE PORTRAYAL OF THE FIRST WORLD WAR IN ITALIAN FILM IN THE 1930s." In 6th SWS International Scientific Conference on Arts and Humanities ISCAH 2019. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sws.iscah.2019.2/s07.039.

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He, Ruobing. "From La Vita é Bella, See How Film Against War and Inhumanity." In 2nd International Conference on Language, Art and Cultural Exchange (ICLACE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210609.114.

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Pamungkas, Nursyamsi Aji, Dwiky Juniarta, and Mohammad Ikhwan Rosyidi. "Challenge towards War as Grand-Narration Represented in Studio Ghibli’s Film Graves Of The Fireflies." In Proceedings of the UNNES International Conference on English Language Teaching, Literature, and Translation (ELTLT 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/eltlt-18.2019.16.

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Liu, Yuxuan. "Analysis on How Nationalism in Britain Affected the Propaganda in a Film During World War II." In 6th International Conference on Humanities and Social Science Research (ICHSSR 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200428.134.

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Song, Yapeng. "A Functionalist Analysis of the Film Subtitle Translation. A Case Study of "The Flowers of War"." In 2016 International Conference on Contemporary Education, Social Sciences and Humanities. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/iccessh-16.2016.112.

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Zhang, Zhewei. "Indigenization Reform: Formation of the Theory of “National Form” in Chinese Film During the Anti-Japanese War." In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.15.

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Belolugov, Vadim Borisovich. "FROM THE EXPERIENCE OF ORGANIZING EDUCATIONAL AND EDUCATIONAL WORK OF THE FESTIVAL OF DOCUMENTARY FILM “MAN AND WAR” IN EDUCATION AND CULTURE INSTITUTIONS." In Международный педагогический форум "Стратегические ориентиры современного образования". Уральский государственный педагогический университет, 2020. http://dx.doi.org/10.26170/kso-2020-19.

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Sinichenko, Vladimir, and Galina Tokarevа. "«Firm Prices» for Sugar in Eastern Russia During the First World War and Civil War." In Irkutsk Historical and Economic Yearbook 2020. Baikal State University, 2020. http://dx.doi.org/10.17150/978-5-7253-3017-5.20.

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The article states that in the conditions of war, first the royal government, then the provisional government, moved to impose fixed food prices. The introduction of «firm prices» for food products has caused shortages. The shortage of goods led on the one hand to hyperinflation and depreciation of money, on the other hand to the growth of smuggling operations and saturation of the Far East market with smuggled food from abroad.

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Reports on the topic "War and film"

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Fleischauer, P. D., S. V. Didziulis, and J. R. Lince. Friction and Wear Properties of MoS2 Thin-Film Lubricants. Fort Belvoir, VA: Defense Technical Information Center, April 2002. http://dx.doi.org/10.21236/ada401523.

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Peterson, M. B., S. Z. Li, and S. F. Murray. Wear-resisting oxide films for 900{degree}C. Final report. Office of Scientific and Technical Information (OSTI), March 1994. http://dx.doi.org/10.2172/10143109.

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Stimpson, Shane G. File-Based One-Way BISON Coupling Through VERA: User's Manual. Office of Scientific and Technical Information (OSTI), February 2017. http://dx.doi.org/10.2172/1361345.

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Dunn, D. N., K. J. Wahl, and I. L. Singer. Nanostructural Aspects of Wear in Ion-Beam Deposited Pb-Mo-S Films. Fort Belvoir, VA: Defense Technical Information Center, January 1998. http://dx.doi.org/10.21236/ada464847.

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Edwards, Susan L., Marcus E. Berzofsky, and Paul P. Biemer. Addressing Nonresponse for Categorical Data Items Using Full Information Maximum Likelihood with Latent GOLD 5.0. RTI Press, September 2018. http://dx.doi.org/10.3768/rtipress.2018.mr.0038.1809.

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Full information maximum likelihood (FIML) is an important approach to compensating for nonresponse in data analysis. Unfortunately, only a few software packages implement FIML and even fewer have the capability to compensate for missing not at random (MNAR) nonresponse. One of these packages is Statistical Innovations’ Latent GOLD; however, the user documentation for Latent GOLD provides no mention of this capability. The purpose of this paper is to provide guidance for fitting MNAR FIML models for categorical data items using the Latent GOLD 5.0 software. By way of comparison, we also provide guidance on fitting FIML models for nonresponse missing at random (MAR) using the methods of Fuchs (1982) and Fay (1986), who incorporated item nonresponse indicators within a structural modeling framework. We compare both FIML for MAR and FIML for MNAR nonresponse models for independent and dependent variables. Also, we provide recommendations for future applications of FIML using Latent GOLD.

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Wu, Chase Qishi. Composition and Realization of Source-to-Sink High-Performance Flows: File Systems, Storage, Hosts, LAN and WAN. Office of Scientific and Technical Information (OSTI), December 2016. http://dx.doi.org/10.2172/1312186.

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Wu, Chase. Final Project Report: Composition and Realization of Source-to-Sink High-Performance Flows: File Systems, Storage, Hosts, LAN and WAN. Office of Scientific and Technical Information (OSTI), September 2017. http://dx.doi.org/10.2172/1378476.

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Quinn, Meghan. Geotechnical effects on fiber optic distributed acoustic sensing performance. Engineer Research and Development Center (U.S.), July 2021. http://dx.doi.org/10.21079/11681/41325.

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Distributed Acoustic Sensing (DAS) is a fiber optic sensing system that is used for vibration monitoring. At a minimum, DAS is composed of a fiber optic cable and an optic analyzer called an interrogator. The oil and gas industry has used DAS for over a decade to monitor infrastructure such as pipelines for leaks, and in recent years changes in DAS performance over time have been observed for DAS arrays that are buried in the ground. This dissertation investigates the effect that soil type, soil temperature, soil moisture, time in-situ, and vehicle loading have on DAS performance for fiber optic cables buried in soil. This was accomplished through a field testing program involving two newly installed DAS arrays. For the first installation, a new portion of DAS array was added to an existing DAS array installed a decade prior. The new portion of the DAS array was installed in four different soil types: native fill, sand, gravel, and an excavatable flowable fill. Soil moisture and temperature sensors were buried adjacent to the fiber optic cable to monitor seasonal environmental changes over time. Periodic impact testing was performed at set locations along the DAS array for over one year. A second, temporary DAS array was installed to test the effect of vehicle loading on DAS performance. Signal to Noise Ratio (SNR) of the DAS response was used for all the tests to evaluate the system performance. The results of the impact testing program indicated that the portions of the array in gravel performed more consistently over time. Changes in soil moisture or soil temperature did not appear to affect DAS performance. The results also indicated that time DAS performance does change somewhat over time. Performance variance increased in new portions of array in all material types through time. The SNR in portions of the DAS array in native silty sand material dropped slightly, while the SNR in portions of the array in sand fill and flowable fill material decreased significantly over time. This significant change in performance occurred while testing halted from March 2020 to August 2020 due to the Covid-19 pandemic. These significant changes in performance were observed in the new portion of test bed, while the performance of the prior installation remained consistent. It may be that, after some time in-situ, SNR in a DAS array will reach a steady state. Though it is unfortunate that testing was on pause while changes in DAS performance developed, the observed changes emphasize the potential of DAS to be used for infrastructure change-detection monitoring. In the temporary test bed, increasing vehicle loads were observed to increase DAS performance, although there was considerable variability in the measured SNR. The significant variation in DAS response is likely due to various industrial activities on-site and some disturbance to the array while on-boarding and off-boarding vehicles. The results of this experiment indicated that the presence of load on less than 10% of an array channel length may improve DAS performance. Overall, this dissertation provides guidance that can help inform the civil engineering community with respect to installation design recommendations related to DAS used for infrastructure monitoring.

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Salama, Hana, and Emma Bjertén-Günther. Women Managing Weapons: Perspectives for Increasing Women’s Participation in Weapons and Ammunition Management. United Nations Institute for Disarmament Research, July 2021. http://dx.doi.org/10.37559/gen/2021/02.

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UNIDIR’s new study Women Managing Weapons: Perspectives for Increasing Women’s Participation in Weapons and Ammunition Management seeks to fill this gap by exploring women’s participation in the field of weapons and ammunition management, particularly their lived experiences in WAM technical roles, such as stockpile managers, armourers, ammunition and technical experts, explosive ordnance disposal specialist. The purpose is to unpack the challenges faced by these women and identify good practices for further inclusion of women in WAM. It also provides ideas for states, international organizations and disarmament stakeholders to improve gender diversity in implementation of arms control commitments, such as the UN PoA and its relevant instruments.

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Mejias-Santiago, Mariely, Lyan I. Garcia, and Lulu Edwards. Rapid Airfield Damage Recovery Next Generation Backfill Technologies Comparison Experiment : Technology Comparison Experiment. Engineer Research and Development Center (U.S.), February 2021. http://dx.doi.org/10.21079/11681/39661.

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The Rapid Airfield Damage Recovery (RADR) Next Generation Backfill Technology Comparison Experiment was conducted in July 2017 at the East Campus of the U.S. Army Engineer Research and Development Center (ERDC), located in Vicksburg, MS. The experiment evaluated three different crater backfill technologies to compare their performance and develop a technology trade-off a nalysis. The RADR next generation backfill technologies were compared to the current RADR standard backfill method of flowable fill. Results from this experiment provided useful information on technology rankings and trade-offs. This effort resulted in successful crater backfill solutions that were recommended for further end user evaluation.

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