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The documentary is missing because the documentary is as safe as the fence it mocks in its title.
In the beginning we are asked to bear witness to the construction and use of the most devastation weapon of indiscriminate death the world has ever seen, and all the harm the construction of such a tool, yet its construction and its use is justified near instantaneously by repeating the same old propaganda.
In continuation, we are asked to bear witness to the continuous production of similar weapons and the devastation caused by the mishandling of the waste that accumulated in their production, yet why such a production took place is not only left unquestioned, but simple hints of cold war propaganda is left in their places for safekeeping.
In the end, we are asked to bear witness to a sombre victory, same spectres of patriotism and nation-of-God watching over our shoulder, yet how the pitiful situation of being forced to celebrate even such a small victory is never explored.
To sum up, we are shown people, good people, who struggle against the symptoms of a disease, yet this disease itself never named, nor challenged. It could not have been challenged, as it would force a complete change in their discourse.

If we sincerely would like to critique how the bodies of these workers were made disposable; used, harmed, dislocated and discharged as deemed necessary; if we wish to explore this topic as the necropolitical issue it is, we cannot stop halfway through. This inability to stop chasing connections, relationalities wherever it fits our ideology, is not a call for “objectivism”, it’s a call to respect the term of Anthropocene with all its rhizomatic connections.

An investigation of nuclear waste, that does not factor the use of its product, the socio-political effects of said product, and the historical conditions that even led to the possibility of producing it in such ways and such quantities, are of no use for us.  It cannot penetrate the barrier of capitalist realism. If it could, at least a single mention of workers unions would have existed. Instead, it has confessionals by atomic weapons lawyers whose heart goes out to these workers.
An America that refuse to face up to the fact that it is what it is by the great necropolitical project it led for hundreds of years, I struggle to accumulate sympathy for, what I can easily accumulate is rage however, which this documentary is missing..
Wish the documentary would have at least attempted to say something radical, instead of praising these disposable bodies for being patriotic about it. There are lives who never had false fences built as idols for safety, the collective idols of old America, the patriotic nation under God were built upon their broken bodies, what would you ask of them?

The report includes information gathered by both authors during the course of their own research, including citing several of their own publications within the report. Moreover, as a review article, the report includes work from other prominent epidemiologists, psychologists, and organizers of disaster relief; additionally, there appear to be several reports from various emergency response agencies providing data for prevalence of various mental disorders

It addresses the public as a whole. Throughout the film, those involved in fighting for information/responsibility over Camp Lejeune emphasize the power of the public to write or speak about this issue. Moreover, it strongly demonstrates how often public welfare is shunned by those in power-- ironically, the least effected group. 

1)      From the perspective of readers or hearers of stories that are in process, plot is less a finished form or structure than an engagement with what has been told or read so far in relation to imagined outcomes that the story may bring - outcomes that are feared, longed for, or seem ironically or tragically inevitable.

2)      Second. several prototypical plot types can be identified among the illness narratives, as well as among the specific stories of which they are constituted. These have a distinctive cultural form, rooted in Turkish popular medical culture. They are present as the plot structures of the narratives we heard. They are also available as cultural resources for those in the midst of illness attempting to make sense of their experience; that is, they are possible stories one might reasonably tell about such an illness, potential plots giving order to the events one is experiencing.

3)       Meanwhile, he continues to work in a job at the municipality, where he is treated well by co-workers. His major concern is that he and his wife have had no children, and he wonders if either the illness or the medications are to blame. This, rather than treatment of the primary disease, organizes his interest in shaping the outcome of his illness story.

Miriam Ticktin, PhD, is a current associate professor of Anthropology and a co-director of Zolberg Institute of Migration and Mobility. She received degrees from both Stanford University, Oxford University, and Ecoles de Hautes Etudes en Sciences Sociales. Her work typically focuses on the intersection of medicine, science, law, anthropology, and postcolonial feminist theory. She has multiple publications on the above subjects, including journal articles, books, special journal issues, and chapters. 

The report comes within a much larger book edited by Richard Hindmarsh focused on the Fukushima nuclear disaster. The book as whole explores social, environmental, and political issues in the aftermath of the incident. It appears to be available at multiple collegiate libraries including Boston College, Williams College, Harvard University, MIT, and Cornell University.