Common use of Vietnam Clause in Contracts

Vietnam. The actors are almost all amateurs, locals of the town where the film was made. The film portrays plausible outcomes of a nuclear war, starting with the immediate aftermath of blast and heat; already well understood. The memories of the bombing raids of the Second World War were still vivid to many. The War Game specifically parodies the Civil Defence Information films being produced by the Home Office; the narrator repeatedly uses the phrase ‘This is what nuclear war means’ which had been a central motif of ‘Doom Town’; a 1955 Pathé Civil Defence training film depicting search and rescue in burnt-out buildings.8 The Government Civil Defence Corps had produced a number of training films and publicity ‘shorts’ in the 1950s and early 1960s.9 These films depicted Civil Defence exercises and scenarios which were scripted to run up to the evacuation of casualties to conveniently located first aid posts where assistance from unaffected areas was available. The rescue services always appeared in control and there was a clear message that civil defence was a viable response to a nuclear attack. The War Game scenario develops beyond this point and the film portrays the failure of the civil defence organisation to respond to the demands of ever-increasing casualties, including the inadequate provision of medical care, mercy killings of the very seriously burned casualties by the police and mass cremations in order to prevent spread of disease. As time passes in the film, the situation changes from one of an immediate emergency to one of protracted crisis due to failure of the civil defence organisation, leading to food shortages, looting and finally the imposition of martial law on the streets; graphically depicted in the execution of food rioters by police firing squad. Throughout, this fabricated newsreel footage is interspersed with interviews to camera of equally fictitious ‘establishment figures’ such as a ▇▇▇▇▇▇, government ministers, officials and senior military officers. These interviews are filmed at desks or in offices and they rehearse genuine government statements on civil defence planning; assurances that procedures and processes are in place to ensure that nuclear war is survivable. Immediately after each official statement, the film depicts its ‘reality’, directly in counterpoint to the reassuring view of the ‘establishment figure’. This reality includes live unscripted interviews with members of the public who were actually participating in the filming. They were asked real questions and answered from their real viewpoints. ▇▇▇▇▇▇▇ later said; ‘And those questions and responses – particularly the responses – are perhaps the biggest single indictment 8 Doom Town, 1955. Newsreel. Directed by PATHE. London: Pathe. 9 Nuclear War in Britain; Home Front Civil Defence Films 1951-1987, 2010. Strikeforce TV. in the entire film of the way we are conducting our present society and of the lack of common public knowledge of the things which effect humanity.’10 Ultimately, the effect is that the fictional newsreel and interview footage completely discredits the genuine government statements and Civil Defence Organisation assurances. Despite Wheldon’s support, The War Game caused considerable unease within the BBC hierarchy during its production. Filming was completed in April 1965, and ▇▇▇▇▇▇▇ completed his initial editing by mid-June. The first cut was screened to ▇▇▇▇▇▇▇’▇ panel of expert consultants on 17th June and to Wheldon and ▇▇▇▇▇▇▇ ▇▇▇▇▇▇▇ (▇▇▇▇▇▇▇’▇ replacement as Head of Documentaries) on 24th June. After each of these screenings, the film was edited further. After a further screening to BBC publicity officers, the re-edited film was viewed again by Cawston on 18th August and he gave the film a provisional broadcast date of 7th October, to be followed by ‘Tonight’. However, on 2nd September, ▇▇▇▇ ▇▇▇▇▇▇▇▇-▇▇▇▇▇▇ (BBC Director General) and Lord Normanbrook (Chairman of the BBC Board of Governors) viewed the film and decided to ‘take soundings’ from Whitehall. As an ex-Cabinet Secretary, and Chair of the 1954 ‘Committee on Nuclear Defence and Civil Defence’, Normanbrook would have been very aware of the potential domestic impact of the film. He wrote to the Cabinet Secretary that the film;