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:This article examines the television presence of physicist Robert Oppenheimer. I argue that the aesthetics of those appearances operate ambivalently: they mechanize and instrumentalize Oppenheimer for the military-industrial complex but also provide countervailing aesthetics and oppositional ideologies. Studying these ambivalences reveals the origins and functions of Cold War television.
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Stored only when both papers are in the corpus — 18 citations exist upstream.
Papers that cite the same references — the relational fallback while embeddings are still backfilling.
Imported from OpenAlex (CC0) — nothing here is generated.