Experiencing the Cold War at Shanghai’s secret military industrial complex

2020 ◽  
pp. 1-19
Author(s):  
Covell Meyskens
1992 ◽  
Vol 7 (2) ◽  
pp. 163-169 ◽  
Author(s):  
William Roe

Summary To date governments have been slow to appreciate that, as well as a peace dividend, arms reduction will bring social and economic hardship to communities which have relied upon defence expenditure for employment. Conversion of military bases, let alone restructuring of defence industries, cannot be left to market forces to achieve; government intervention is required to ensure the successful adjustment of communities. During the Cold War, the dominance of the “military-industrial complex” spread the notion that disarmament would threaten not only security, but jobs. Current geopolitical changes present an opportunity to challenge this argument. Local employment initiatives are essential to prevent defence cuts from causing unemployment.


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2019 ◽  
Vol 12 (20) ◽  
pp. 15-34
Author(s):  
Samuel McCready

This article explores representations of history and history for the present in Fallout 4 to illuminate how the gameworld makes clever use of common historical tropes and aesthetics, as well as the genre of the counterfactual in its presentation of a compelling and interactive narrative. Set in the post-apocalyptic landscape of Massachusetts, Fallout 4 employs various sites of historical Massachusetts (Concord, Lexington, Boston) in order to draw the user into the story of the ‘lone survivor,’ the avatar that he or she takes control of. This analysis is interested in the ways that Fallout 4 employs history and the genre of the counterfactual in the production of a compelling narrative that not only invites but impels the player into action to chart a new course for this devastated virtual landscape. The power of counterfactual history lies in its capacity to unravel assumptions about the static nature of historical events, and in its denial of a linear trajectory of history broadly. In the case of Fallout 4, the implementation of a counterfactual story, wherein the nuclear event that shrouded the Cold War period in uncertainty, takes place. It serves as a rejection of the popularly rehearsed narrative of American supremacy triumphing over Communist forces to present the player with a more nuanced interpretation of some of the internal and external tensions that came to define the Cold War period (i.e. cultural malaise, economic instability, the growth of a military-industrial complex). This conflicting presentation of histories both real and imagined provides an opportunity for the player to experience and interact with the game critically as a counterfactual reimagining of the Cold War era. Viewed in this way, the virtual world of Fallout 4 becomes a space where the player can reassess their own understanding of the period, and the nature of historical knowledge production more broadly.


Author(s):  
Joseph M. Thompson

This chapter combines political, labor, and cultural history methodologies to compare the Lockheed aircraft factory in Marietta, Georgia, and the Scripto pen and pencil factory in nearby Atlanta. While the mostly male employees at Lockheed, a majority-white plant, enjoyed the job security delivered by defense contracts at the height of the Cold War military-industrial complex, the Scripto workers, the majority of whom were African American women, faced the more capricious turns of the market. Many of the disparities between these factories stemmed from their common management history found in the career of attorney, businessman, and civic leader, James V. Carmichael. Although situated within close geographical proximity, Lockheed and Scripto helped create disparate racial, political, and cultural worlds in the mid-twentieth century. The tale of these two factories uncovers the stark contrasts between the ways race, gender, and government intervention shaped different sectors of the postwar southern economy.


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