This thesis investigates the relationship between apocalyptic fiction and reality during the Cold War era. By exploring the zeitgeist and media landscape of the American Cold War culture, this thesis demonstrates that apocalyptic fiction had a significant bilateral role during those times and influenced the contemporary nuclear discourse. This is illustrated by analyzing two popular apocalyptic movies, "On the Beach" (1959) and "The Day After" (1983). Both films portray a worst-case scenario in which the protagonists are confronted with the disastrous consequences of a nuclear war. These movies are not just blockbusters for entertainment but fuel and contribute to the ongoing nuclear discourse about the Cold War era and its politics of deterrence.
In its theoretical part, this thesis provides an overview of the Cold War era and reveals how the beginning of the Atomic Age changed the dynamics of power and politics forever. It focuses on the international cultural discourse concerned with nuclear weaponry and illustrates how the politics of deterrence came into being. Afterwards, this thesis focuses on the US- specific nuclear discourse and how it was portrayed in US mainstream media.
Additionally, this thesis engages with the Cold War as a concept of thought. It aims at providing a deeper understanding of its intrinsic mechanisms and explains why the Cold War can be classified as a war against people’s imagination. Therefore, this thesis provides an overview of modern apocalypticism research and investigates the role of narratives in the Atomic Age.
In its analytical part, the films On the Beach (1959) and The Day After (1983) are interpreted as crisis texts according to the paradigm of apocalypticism. According to this analytical approach, this film analysis focuses on the films’ contemporary cultural context and investigates how their narratives are related to the political and cultural events of the Cold War.
Furthermore, this thesis investigates how the bilateral relationship between fiction and reality impact the films and their public reception. Thus, this thesis demonstrates how the films serve as an example of how and why the Cold War can be classified as a war against people’s imagination.
Inhaltsverzeichnis (Table of Contents)
- Introduction
- Nuclear Apocalypticism
- Apocalyptic Films as Crisis Texts
- The Modern Apocalypse
- Apocalyptic Narratives
- The Nuclear Apocalypse
- The Role of Narratives in the Atomic Age
- The Cold War: A Brief Summary
- Unraveling Alliances and Growing Tensions
- The Struggle between Superpowers
- The Cuban Missile Crisis
- Proxy Wars and Changing Dynamics
- Locating the Films on the Timeline
- The Atomic Bomb in International Cultural Discourse
- Phase 1: The US Monopoly
- Transitional Phase: The End of the US Monopoly
- Phase 2: The Arms Race and New Controversies
- Ideas and Innovations of the Atomic Age
- US-Specific Media Coverage of the Nuclear Discourse
- Life Magazine
- One World or None
- The Nuclear Sublime
- The Silent Killer and the Walking Dead
- The Politics of Deterrence and the Imaginary War
- The Metaphorical Nature of the Cold War
- A War against Imagination
- The Exceptional Role of Film and Fiction in the Imaginary War
- Preliminaries for the Analysis
- Film Production and Release Dates
- Synopses
- On the Beach (1959)
- The Day After (1983)
- The Staging of a Nuclear Apocalypse
- Worldbuilding and Narrative Development
- Focalization
- Settings
- Casting Decisions
- On the Beach and The Day After as Crisis Texts
- Emotional Reactions and Coping Strategies
- Denial
- Regret and Search for Purpose
- Work as a Form of Escapism
- Suggested Solutions
- Hopes and Fears Expressed in the Films
- Castro Gomez's Narrative Functions in the Two Films
- Emotional Reactions and Coping Strategies
- Relationship between Fiction and Reality in On the Beach and The Day After
Zielsetzung und Themenschwerpunkte (Objectives and Key Themes)
This thesis explores the relationship between apocalyptic fiction and the reality of US Cold War culture, focusing on how these fictional narratives both reflected and shaped contemporary anxieties surrounding nuclear war. The analysis uses two films, *On the Beach* (1959) and *The Day After* (1983), as case studies to understand this complex interplay.
- The role of apocalyptic films as "crisis texts" reflecting societal anxieties.
- The portrayal of the Cold War as a "war against the imagination," shaping public perception through fictional narratives.
- The impact of media coverage and narratives on the public understanding of nuclear war.
- The emotional and psychological responses to the threat of nuclear annihilation depicted in film.
- The exploration of hope, fear, and potential solutions presented within the films' narratives.
Zusammenfassung der Kapitel (Chapter Summaries)
Introduction: This introduction sets the stage for the thesis, establishing the central argument that the Cold War era blurred the lines between reality and science fiction, particularly regarding the ever-present threat of nuclear war. It introduces the two films, *On the Beach* and *The Day After*, as key examples of apocalyptic fiction reflecting and contributing to the contemporary discourse on nuclear war. The introduction clearly outlines the thesis's two main premises: the Cold War as a "war against imagination" and the films as "crisis texts," setting the groundwork for the subsequent chapters' analyses.
Nuclear Apocalypticism: This chapter defines and explores the concept of nuclear apocalypticism, drawing on the work of scholars like Peter Podrez and Gerhard Marcel Martin. It traces the evolution of the term "apocalypse" and examines the function of apocalyptic narratives within the context of the Atomic Age. The chapter lays the theoretical groundwork for interpreting the chosen films through the lens of apocalypticism, establishing a crucial framework for the subsequent analysis.
The Cold War: A Brief Summary: This chapter provides a concise overview of the Cold War, outlining key events, tensions between superpowers, and the evolving dynamics of the conflict. It specifically highlights the context relevant to the chosen films, positioning them within the broader historical narrative of the Cold War and setting the scene for understanding their cultural significance. The chapter contextualizes the films within a specific historical and geopolitical framework.
The Atomic Bomb in International Cultural Discourse: This chapter analyzes the global cultural impact of the atomic bomb, charting its progression through three distinct phases. It traces the shift from US nuclear monopoly to the ensuing arms race and the resulting controversies, highlighting the international implications of nuclear technology and its lasting impact on global politics and culture. This chapter emphasizes the far-reaching consequences of the development and proliferation of nuclear weapons.
Ideas and Innovations of the Atomic Age: This chapter explores the significant scientific, technological, and societal advancements that characterized the Atomic Age. It analyzes how these innovations intersected with the pervasive fear of nuclear war, shaping cultural perceptions and influencing the narrative choices in apocalyptic films. The chapter highlights the complex relationship between technological progress and societal anxieties.
US-Specific Media Coverage of the Nuclear Discourse: This chapter examines the portrayal of nuclear discourse in prominent US media outlets, including *Life Magazine* and *One World or None*. It also delves into the concepts of the "nuclear sublime" and the evolving imagery associated with nuclear war, demonstrating the complex and varied ways in which the media shaped public perception. This chapter offers insight into the specific media landscape and its contribution to the nuclear narrative.
The Politics of Deterrence and the Imaginary War: This chapter delves into the intricacies of Cold War deterrence policies and their impact on the collective imagination. It examines the metaphorical nature of the Cold War and the significant role of film and fiction in shaping public perception and fear. The chapter explores the interplay between political strategy and the cultural representation of fear.
Preliminaries for the Analysis: This chapter lays the groundwork for the detailed film analysis, providing essential context about the production, release dates, and synopses of both *On the Beach* and *The Day After*. It prepares the reader for the in-depth analysis that follows, ensuring that the reader has the necessary background information.
The Staging of a Nuclear Apocalypse: This chapter offers a detailed analysis of the cinematic techniques employed in depicting a nuclear apocalypse in the two films. It examines narrative development, focalization, settings, and casting decisions, illustrating how these choices contribute to the films' overall impact and message. This chapter provides a thorough understanding of the stylistic and narrative choices in the films.
On the Beach and The Day After as Crisis Texts: This chapter analyzes how the films function as "crisis texts," examining characters' reactions to the impending apocalypse and the emotional responses depicted. It explores themes of denial, regret, and the search for purpose in the face of annihilation. The chapter also examines suggested solutions and the hopes and fears presented in the films. It provides a deep dive into the emotional and psychological elements of the narrative.
Relationship between Fiction and Reality in On the Beach and The Day After: This chapter analyzes how these films reflect and shape perceptions of reality during the Cold War, demonstrating the intricate relationship between fiction and the lived experiences of fear and uncertainty under the nuclear threat.
Schlüsselwörter (Keywords)
Cold War, nuclear apocalypse, apocalyptic cinema, *On the Beach*, *The Day After*, crisis texts, deterrence, media representation, fear, collective imagination, fictional narratives, reality, cultural anxieties.
Frequently Asked Questions: A Comprehensive Language Preview
What is the main topic of this thesis?
This thesis explores the relationship between apocalyptic fiction and the reality of US Cold War culture, focusing on how fictional narratives reflected and shaped contemporary anxieties surrounding nuclear war. It uses the films On the Beach (1959) and The Day After (1983) as case studies.
What are the key themes explored in the thesis?
Key themes include the role of apocalyptic films as "crisis texts," the portrayal of the Cold War as a "war against the imagination," the impact of media coverage on public understanding of nuclear war, emotional and psychological responses to nuclear annihilation, and the exploration of hope, fear, and potential solutions presented in the films.
Which films are analyzed in this thesis?
The thesis analyzes On the Beach (1959) and The Day After (1983) as examples of apocalyptic fiction reflecting and contributing to the contemporary discourse on nuclear war.
What is the significance of these films according to the thesis?
The thesis argues that these films serve as "crisis texts," reflecting societal anxieties and shaping public perception of the Cold War and the ever-present threat of nuclear war. They blurred the lines between reality and science fiction during this era.
What aspects of the films are analyzed?
The analysis includes the films' narrative development, focalization, settings, casting decisions, emotional responses depicted (denial, regret, search for purpose), suggested solutions, hopes and fears, and the relationship between fiction and reality within the Cold War context.
What is the structure of the thesis?
The thesis is structured with an introduction, chapters on nuclear apocalypticism, a Cold War summary, the atomic bomb's impact on international cultural discourse, ideas and innovations of the Atomic Age, US media coverage, the politics of deterrence, preliminaries for analysis (including film synopses), analysis of the staging of nuclear apocalypse, an analysis of the films as crisis texts, and a conclusion on the relationship between fiction and reality in the chosen films. A table of contents, objectives, key themes, and chapter summaries are provided.
What is meant by the term "crisis texts"?
In the context of this thesis, "crisis texts" refers to fictional narratives, specifically the films On the Beach and The Day After, that reflect and respond to societal anxieties and fears surrounding a major crisis—in this case, the threat of nuclear war during the Cold War.
How does the thesis define and explore nuclear apocalypticism?
The thesis defines and explores nuclear apocalypticism by tracing the evolution of the term "apocalypse" and examining the function of apocalyptic narratives within the context of the Atomic Age. It draws on the work of scholars like Peter Podrez and Gerhard Marcel Martin to establish a theoretical framework for interpreting the chosen films.
What is the role of media coverage in the thesis?
The thesis examines the portrayal of nuclear discourse in prominent US media outlets like Life Magazine and One World or None. It analyzes how media shaped public perception of nuclear war and contributed to the overall nuclear narrative of the time.
What are the keywords associated with this thesis?
Keywords include Cold War, nuclear apocalypse, apocalyptic cinema, On the Beach, The Day After, crisis texts, deterrence, media representation, fear, collective imagination, fictional narratives, reality, and cultural anxieties.
- Arbeit zitieren
- Iris Strimitzer (Autor:in), 2021, On the Relationship between Apocalyptic Films and Reality in US Cold War Culture, München, GRIN Verlag, https://www.grin.com/document/1184030
