Abstract

The authors examine the stated topic from two perspectives — historical and socio-philosophical. In American filmography, works devoted to nuclear weapons and their use were produced in accordance with the needs of their time. This logic determined the chronological framework of the article. The starting point is the first U.S. feature film devoted to nuclear weapons, released in 1947. The end point — 1964 — marks certain shifts in Soviet-American relations. Thus, the study encompasses cinematic works produced during three presidential administrations: Truman, Eisenhower, and Kennedy–Johnson. Each film constructs its own social stereotypes, invariably featuring confrontation with the USSR as an essential element. In keeping with the spirit of their time, the orientation of the films changed. Under the Truman administration, films justified the atomic bombings of Japan and emphasized the need for similar actions in the future. During President Eisenhower's tenure, only one film dealing with nuclear war was produced, and it portrayed an apocalyptic scenario. Following the death of President Kennedy, three films addressing aspects of U.S. nuclear policy were released. Produced in three distinct genres — comedy, drama/thriller, and detective — they each, in different ways, depicted U.S. dominance over other nations while also underscoring the importance of negotiation. All three were released in 1964. The authors argue that U.S. films devoted to nuclear war constitute a specific trend in cinematography. This trend served as a tool for shaping the mass consciousness of American citizens, fostering a negative perception of the Soviet Union and reinforcing patriotic sentiment. In the films under consideration, military personnel consistently adhere to the principles of military duty even despite catastrophic consequences. The authors of the article conclude that filmography related to nuclear weapons holds significant potential for further research through the expansion of chronological parameters, geographic scope, and thematic focus. For example, the theoretical aspects of nuclear war reflected in cinematic works warrant dedicated study.