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| 1 |
ID:
092479
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| 2 |
ID:
093811
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| 3 |
ID:
094648
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| 4 |
ID:
119838
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| 5 |
ID:
034891
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| Publication |
London, Eyre Methuen, 1973.
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| Description |
xiv, 339-726p.: ill.Hbk
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| Standard Number |
41330180X
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Copies: C:1/I:0,R:0,Q:0
Circulation
| Accession# | Call# | Current Location | Status | Policy | Location |
| 012708 | 923.144/CRO 012708 | Main | On Shelf | General | |
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| 6 |
ID:
142336
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| 7 |
ID:
105464
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| Publication |
2011.
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| Summary/Abstract |
This paper attempts to address the increasing challenges faced by the Army -both individually for the soldier and collectively as an organization. It is an attempt to balance the soldier's individual need for personal growth and development, optimizing his potential, as well as the military's need for mission effectiveness.
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| 8 |
ID:
098910
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| 9 |
ID:
097297
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| 10 |
ID:
149290
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| Publication |
New Delhi, IDSA, 2016.
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| Description |
104p.pbk
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| Series |
IDSA Monograph Series no; 54
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| Standard Number |
9789382169673
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Copies: C:2/I:0,R:0,Q:0
Circulation
| Accession# | Call# | Current Location | Status | Policy | Location |
| 058905 | 355.22/SOF 058905 | Main | On Shelf | General | |
| 058906 | 355.22/SOF 058906 | Main | On Shelf | General | |
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| 11 |
ID:
065232
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| 12 |
ID:
109266
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| 13 |
ID:
190719
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| Summary/Abstract |
This article examines the subversion of the hero soldier figure in three Vietnam War films from three different nations that faced defeat in Vietnam: Coppola’s Apocalypse Now, Schoendoerffer’s Dien Bien Phu, and Jeong Ji-yeong’s White Badge. A close analysis reveals that all three films undermine the image of the virtuous and powerful hero soldier through recurring stylistic elements. Apocalypse Now, through the ‘Ride of the Valkyries’ helicopter sequence – as well as the opening and ending sequences – portrays the American soldier as a barbaric aggressor. Dien Bien Phu, meanwhile, visually undermines the image of the powerful hero soldier through cinematographic techniques which portray the French soldiers in the field as small and powerless. Finally, White Badge – which, unlike the two other films, takes place in the post-war period – subverts the image of the hero soldier through its use of auditory and visual elements to portray the Korean soldier as aggressor and, first and foremost, victim. The article concludes with a discussion of how the three films influence audiences’ perceptions of those who fought in Vietnam.
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| 14 |
ID:
038598
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| Publication |
London, Hodder and Stoughton, 1972.
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| Description |
222p.
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Copies: C:1/I:0,R:0,Q:0
Circulation
| Accession# | Call# | Current Location | Status | Policy | Location |
| 009573 | 923.53931/DDC-20 009573 | Main | On Shelf | General | |
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| 15 |
ID:
144239
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| 16 |
ID:
093946
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| Publication |
2010.
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| Summary/Abstract |
The major military challenge that the United States faces today is the war in Afghanistan. The U.S. military is engaged in a grueling counterinsurgency campaign against the Islamist movement known as the Taliban, which is based among Pashtun tribes in Southeastern Afghanistan and Northwestern Pakistan, who have never been permanently subdued by a foreign military force. This challenge comes in the wake of that other grueling counterinsurgency war that the U.S. military has had to conduct in Iraq, where its chief adversary was the Islamist movement known as al Qaeda in Mesopotamia. Moreover, the challenge in Afghanistan comes on what could be the eve of an impending military challenge, perhaps even a war, with Iran, as that Islamist state relentlessly moves toward acquiring nuclear weapons. In its entire history of two- and-a-quarter centuries, the United States has never been engaged in an unbroken succession of three wars, in three different countries. Together, the U.S. wars with or within Islamist countries add up to what is a "long war," indeed.
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| 17 |
ID:
092377
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| 18 |
ID:
109413
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