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Containment was a geopolitical strategic foreign policy pursued by the United States during the Cold War to prevent the spread of communism after the end of World War II. The name was loosely related to the term cordon sanitaire , which was containment of the Soviet Union in the interwar period .
Containment is an American drama limited series, [1] based on the Belgian television series Cordon. The series was officially ordered as a series by The CW on May 7, 2015, [ 2 ] and aired from April 19 through July 19, 2016. [ 3 ]
Containment is a 2015 British thriller film written by David Lemon, directed by Neil Mcenery-West, produced by Casey Herbert, Pete Smyth and Christine Hartland; and starring Lee Ross, Sheila Reid, Louise Brealey, Pippa Nixon, Andrew Leung, William Postlethwaite and Gabriel Senior.
Containment systems for nuclear power reactors are distinguished by size, shape, materials used, and suppression systems. The kind of containment used is determined by the type of reactor, generation of the reactor, and the specific plant needs. Suppression systems are critical to safety analysis and greatly affect the size of containment.
Spill containment is where spills of chemicals, oils, sewage etc. are contained within a barrier or drainage system rather than being absorbed at the surface. One method is to use an inflatable stopper or pneumatic bladder which is inserted into the outflow of a drainage system to create a containment vessel.
Containment is a geopolitical strategy to stop the expansion of an enemy. Containment may also refer to: Containment (computer programming), a form of object composition; Containment (documentary), a 2015 film about the long-term dangers of nuclear waste; Containment, a 2015 British film; Containment, a 2016 American series
A containment boom is a temporary floating barrier used to contain an oil spill. Booms are used to reduce the possibility of polluting shorelines and other resources, and to help make recovery easier.
Subversion and containment is a concept in literary studies introduced by Stephen Greenblatt in his 1988 essay "Invisible Bullets". [1] It has subsequently become a much-used concept in new historicist and cultural materialist approaches to textual analysis .