This book offers a new analytical framework for studying nuclear command and control (C2), based on a comparative study of four nuclear weapons states (NWS). The subject of nuclear operations management has long been shrouded in secrecy, and whilst the importance of nuclear C2 cannot be disputed, there are few academic studies into how and why states develop these systems. This volume includes a comparative study of the development of nuclear C2 by four different NWS (Britain, China, India, and Pakistan) and demonstrates that, despite several differences, there is a central set of factors that remain constant. The analytical framework used in this study identifies key factors that can potentially shape the evolution and stability of nuclear C2. These factors include geostrategic (threat) environment, international norms, leadership, and control of nuclear operations (civil-military control). The book also analyses the interaction among different stakeholders within the nuclear C2 enterprise. It recognises that politicians, the military and scientists all have key but different roles to play, and the way these stakeholders have learned to co-exist with each other is explored. This volume offers a set of dynamics that could form a global norm for nuclear C2, serving as a standard for new entrants into the nuclear club. This book will be of much interest to students of nuclear proliferation, global governance, and International Relations in general.
This new history of partition and South Asian cinema is narrated through the careers of émigré film personnel, as well as through the distinctive genres and ancillary ventures that accompanied the aftershocks of partition. Moving beyond arguments about social contingency and political intent, the book suggests that the creative energies, production and subsequent circulation of popular cinema can offer fresh insights into partition. Pointing to regional connections across national boundaries, this book asserts that the cinemas of India and Pakistan must be explored in tandem to uncover the legacy of partition for the culture industries of the region, one that is not hewn out of national erasures. The leitmotifs of émigré personnel, gossip and satire in film print culture, the partisan repertoire of a theatre company, the film genres of the Muslim social, romantic comedies and charba (remakes), and the unruly film archives of postcolonial nation–states, when accessed through the lens of a divisive decolonization, reveal the parallaxes and confabulations of the 'national' on both sides.
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