Essay: Depictions of Nuclear Warfare in 1980’s Cinema

William Palmer’s piece The Nuclear War Film Texts closely examines extra-cinematic occurrences such as The Manhattan Project, the bombing of Hiroshima and Nagasaki in World War II, and the Cold War as they relate to 1980’s cinematic depictions of nuclear threats and war. 

These historical events, amongst many others, incited a great sense of fear that civilization could be obliterated with the push of a single button. Throughout the 1980s, American media focused on nuclear issues and emphasized the growing concern regarding the nuclear arms race of the Cold War. These themes of speculation, concern, suspicion, and fear spilled over into Hollywood, where the nuclear war was the subject of several narrative films and documentaries. Many films leading up to the 1980’s and throughout the decade itself explored the invention of the nuclear bomb, the nuclear arms race, space-based nuclear defense systems, the physical impact of radiation on the human body, and runaway technology. Two of the most significant but distinctly different depictions from the decade are Testament (1983) and The Day After (1983). These films approach the topic from different vantage points, Testament from one of psychological turmoil and The Day After from one of overarching physical destruction. Though contrasting in their narrative modes, both films serve as a social tool to warn viewers of the unimaginable destruction and irreversible damage of nuclear war. These films and many other nuclear war film texts of the 1980’s fall into two major categories: The Econuclear Text and The Nuclear War Text. 

The Econuclear Text ranges from documentary to slapstick, metaphorical to exploitative, and to overtly sociohistorical depending on the objective of the narrative itself. Palmer references Dune (1984) as an example of a film that metaphorically references the econuclear issue and general environmental concerns of the time. Characters in Dune are highly concerned with the scarcity of natural elements and the preservation of the environment. The film sends a message to viewers that the deteriorating state of our environment cannot be saved by technological advancements. The evolution of technology, nuclear technology more specicially, will only further contribute to the downfall of our earthly ecology. Overall, the Econuclear Text addresses runaway technology and humans themselves as the direct source of earthly destruction. Films within this category typically concern themselves with the metaphorical or literal threat nuclear energy poses to the future of the environment. Radiation, as a result of nuclear warefare, does not simply fade away, rather, it sticks around for centuries, slowly eating away at any human life and environmental presence that still remains. 

The Nuclear War Text examines the fear surrounding first-strike capability and space-based nuclear defense systems. In other words, this category explores the possibility of a nuclear war between the United States and Russia. In regards to 80s cinema, there were four subcategories that surfaced: I.) Pre-Apocalyptic, II.) Spy Thriller Genre, III.) Nuclear War and IV.) Post-Apocalyptic. First, the pre-apocalyptic subcategory visits concepts or events that take place prior to nuclear war such as the actual construction of the bomb or any nuclear testing that took place. The Manhattan Project (1986) follows a student with great scientific capabilities who manages to build an atom bomb in his basement and bring it to school for a science fair. This outrageous and comedic narrative makes political reference to nuclear arms proliferation and growing concern. Second, the Spy Thriller Genre film typically utilizes a plot in which a nuclear threat surfaces alongside some form of international blackmail. Several James Bond films including Dr. No (1961), Thunderball (1965), Never Say Never Again (1983), and Moonraker (1979) utilize character objectives related to a nuclear threat. Overall, this subcategory has a strong, male protagonist go on a quest to disarm the explosive situations they are presented with. Third, and perhaps most importantly, is the Nuclear War subcategory, which realistically portrays nuclear war and its aftermath. Testament (1983), is often deemed the most direct and powerful message movie of the 1980s. The narrative focuses on a tightly-knit family that must survive in the aftermath of nuclear war and it places a strong emphasis on the family’s physical, mental, and emotional turmoil as a result. Testament references how nuclear war affects individual lives and makes it difficult for human beings to cling to hope in the wake of destruction. Nuclear war not only threatens our means of survival, but more importantly, our humanity. Prior to the bomb being released, characters in Testament heavily discuss and act on things related to the future: practicing for music recitals, working out, planning for birthdays, etc. Then, when they least expect it, every wish and desire for the future is obliterated in a matter of seconds. Testament is a direct commentary on the decisions of the present that can jeopardize the future. Though Testament depicts the actual nuclear bomb off-screen and represents it with a bright light, The Day After (1983) depicts the actual launching of nuclear missiles, explosions, vaporization of human bodies, panic among civilians, and graphic illness experienced by human beings exposed to high levels of radiation. This film lacks the character focus that Testament employs, however, it is far more demonstrative of the actual nuclear event and the physical toll on the human body. The Day After is more documentary-like whereas Testament has a distinct psychological perception. Lastly, there is the Postapocalyptic subcategory, which was most clearly depicted in the Mad Max movie series. These films typically represent a post-nuclear war earth that is now a leftover wasteland. The narratives often follow a single character or a group of survivors on a journey to safety. Many concerning situations arise such as nuclear mutation or barbaric looters willing to kill others in order to survive. Overall, a general theme of hope consistently catalyzes the survival metaphor in post-apocalyptic films of the decade. 

This synopsis was written by Haley Salcido-Gronski for the course 1980’s American Cinema at Loyola Marymount University.

Citation: Palmer, W. J. (1995). The Nuclear War Film Texts. Essay, Southern Illinois University Press.