Toni A. Perrine (1998)は、核戦争と直後の人々を描いた作品を米国民はテレビ放映で見ており...
The Day After is one of only a handful of films which depict a full-scale nuclear war and its aftermath. Interestingly, most of these films were either explicitly made for television or primarily seen by audiences on TV. The other films in this category include The War Game (1965) and Threads (1985), both produced by the BBC, and When the Wind Blows (1986), a British animated feature. Special Bulletin (1983), an NBC television film is tangential to this discussion since it deals with the nuclear devastation of Charleston, South Carolina as the result of nuclear terrorism, more closely related to the "loose nukes" category. Threads and The War Game, though British productions, were widely seen in this country. Although it had a short theatrical release, Testament (1983) was funded by the Corporation for Public Broadcasting and the National Endowment for the Humanities was seen by most people on television. Testament shows the impact of nuclear war on individuals, though it does not show the actual event of nuclear war. The major exception to this trend, and one which preceded most of the films that seriously treat the event of nuclear war by over twenty years, is On The Beach (1959).

"The Day Ater"は、全面核戦争とその余波を描いた数少ない映画の一つである。興味深いことに、これらの映画の大半は、テレビ用に製作されたか、主にテレビの視聴者によって見られた。このカテゴリーの映画には、BBCが制作した"The War Game"(1965)と"Threads"(1985)や、英国のアニメーション作品"When the Wind Blows"[風が吹くとき](1986)がある。NBCのテレビ映画"Special Bulletin"(1983)は、広義の核カテゴリに関連した、サウスカロライナ州チャールストンの核テロによる災厄を扱っており、この議論と近い。"Threads"と"The War Game"は英国の作品だが、米国で広く視聴された。Testament (1983)はPBSとNationalities for Humanitiesが制作費を出し、短期間、劇場公開されたが、大半の人々はテレビ放映を見た。Testamentは、核戦争の個々の人々に与える影響を提示している。この傾向の大きな例外は、20年以上前に核戦争を真剣に取り上げた、多くの映画に先行した作品"On The Beach"[渚にて](1959)である。

[ Toni A. Perrine: "Film and the Nuclear Age: Representing Cultural Anxiety" , Taylor & Francis, 1998
The popularity of cinematic representations of the future as dystopia include films as diverse as the post-holocaust world of Damnation Alley (1977), the totalitarian state overrun by crime, war and social decay presented in Escape From New York (1981), a world depleted of natural resources and human compassion in Mad Max Beyond Thunderdome (1985), and the corrupt corporate/military states fueled by religious fanaticism of Handmaid's Tale (1989) and Demolition man (1994). This dystopic vision of the future now dominates the science fiction genre in both literature and film. Cultural critic H. Bruce Franklin surveyed fifty-one films which structured future worlds from 1970 to 1982 and found only three "optimistic visions" released for general distribution. A survey of films made since 1982 which visualize future worlds shows no reversal of this trend. Franlin attributes the source of these bleak visions to a general awareness that social progress is being sacrificed to a corporate state which perpeturates an ever growing and increasingly destructive military capacity.

映画"Damnation Alley"[世界が燃えつきる日](1977)や、犯罪と戦争と社会腐敗に圧倒された全体主義国家を描いた"Escape From New York"[ニューヨーク1997 ](1981)や、天然資源と人も思いやりの失われた世界を描いたMad Max Beyond Thunderdome[マッドマックス/サンダードーム](1985)や、宗教的熱狂により強められた腐敗企業・軍を描いたHandmaid's Tale[侍女の物語](1989)やDemolition man [デモリションマン] (1994)など、ディストピアとしての未来を描いた映画の人気は高い。このディストピアな未来のビジョンは現在、文学と映画の両方でSFのジャンルで優勢である。文化批評家H. Bruce Franklinは、1970〜1982年の未来世界を構成する51の映画を調査し、「楽観的なビジョン」は3つしか一般公開されていないことを見出した。未来世界を視覚化する1982年以降の映画を調べても、この傾向は変わっていない。フランクリンは、これらの暗いビジョンが「増大し破壊的になる軍事力を永続させる企業国家が社会的進歩を犠牲にしているという人々の認識」によるものだと指摘している。、

[ Toni A. Perrine: "Film and the Nuclear Age: Representing Cultural Anxiety" , Taylor & Francis, 1998

その最初期の作品に、Nevil Shute: "On the Beach"(1957)の映画化作品(1959)がある。
One critic found Shute's novel banal, and others noted that it stretched scientific and military credulity to the point of science fiction. Nevertheless, the book became best seller and, predictably, popular movie. The popularity of On the Beach indicated that the American public now understood the strategic implications of the Castle-Bravo test. Blast and heat from thermonuclear bombs could be horribly devastating, but even more fearsome was the threat from widespread fallout that, if unlikely to contaminate the entire world, might poison millions of square miles and kill additional millions of people.


[ Richard G. Hewlett, Jack M. Holl: "Atoms for Peace and War, 1953-1961: Eisenhower and the Atomic Energy Commission", 1989, p.52 ]

The American government complained of Kramer’s On the Beach (1959) that it inaccurately presented the threat of extinction from nuclear war because there were not then enough weapons to cause extinction.

[ Andrew Bartlett: "Nuclear Warfare in the Movies", Anthropoetics 10, no. 1 (Spring / Summer 2004) ]