The Day After

Source: Wikipedia, the free encyclopedia.
"Russell Oakes" redirects here. For the Australian dramatist, see Russell J. Oakes.
This article is about the 1983 television film. For other uses, see The Day After (disambiguation).

The Day After
ABC Circle Films
Original release
NetworkABC
ReleaseNovember 20, 1983 (1983-11-20)

The Day After is an American

missile silos.[1] The cast includes JoBeth Williams, Steve Guttenberg, John Cullum, Jason Robards, and John Lithgow. The film was written by Edward Hume, produced by Robert Papazian, and directed by Nicholas Meyer
.

More than 100 million people, in nearly 39 million households, watched the film during its initial broadcast.

share of the viewing audience during the initial broadcast, the film was the seventh-highest-rated non-sports show until then, and in 2009 it set a record as the highest-rated television film in US history.[4]

The film was broadcast on Soviet state television in 1987,[5] during the negotiations on Intermediate-Range Nuclear Forces Treaty. The producers demanded the Russian translation conform to the original script and the broadcast not be interrupted by commentary.[6]

Plot

Dr. Russell Oakes works at a hospital in

Minuteman launch site in Sweetsage, Missouri, 20 miles (32 km) east of Kansas City. Next to the site, the Hendrys carry out farm chores and mind their children. Throughout these scenes of heartland life is a current of tension: the television, radio, and newspapers discuss a Warsaw Pact build-up on the East German border and the dispatch of nuclear weapons to Europe. Towards nightfall, East Germany blockades West Berlin. The U.S. issues an ultimatum calling for the Soviets to end the blockade of West Berlin by the evening and places its military forces on high alert, which recalls McCoy from his wife and infant daughter at Whiteman Air Force Base near Sedalia, Missouri
.

The next day, NATO forces attempt to break the blockade through the

Helmstedt-Marienborn checkpoint, suffering heavy casualties. Warsaw Pact MiGs strike civilian and military targets in West Germany. Oakes visits his son's football game, but daily life is starting to break down. Field hospitals are assembled in Würzburg, there are rumors that Moscow is being evacuated, and people start to flee Kansas City. At the university's registration hall, the word goes out that the Soviets have invaded West Germany. NATO is unable to stop the Soviet invasion and threatens the use of nuclear weapons should the Soviets continue advancing south towards the rest of Western Europe. Pre-med student Stephen Klein decides to hitchhike home to Joplin, Missouri, while Bruce presses on as normal and gets a haircut. A conversation at a barbershop with university faculty head Joe Huxley quickly rids him of his calm demeanor as Huxley explains that the nearby missile silos make Lawrence a likely target for a Soviet first strike. At a supermarket, crowds frantically stockpile food. The American and Soviet navies battle in the Persian Gulf, and there are rumors of nuclear strikes on the outskirts of Frankfurt and Wiesbaden. Oakes is stuck in traffic driving to the campus hospital in Lawrence when the Emergency Broadcast System
warnings begin. Failing to contact his wife, he turns back toward Kansas City.

As the Warsaw Pact continues to advance,

ICBMs. The film is deliberately ambiguous on who fired the main attack first. McCoy makes it to the Sweetsage base and learns Beale Air Force Base and RAF Fylingdales
have been destroyed. Deeming the war over and survival in the silo unlikely, he flees to find his family. Air raid sirens go off and panic grips Kansas City.

Shortly before the ICBMs arrive, a high-altitude nuclear explosion over the Central United States generates an EMP that disables vehicles and destroys the electrical grid across the region. The nuclear strikes then commence as the Soviet warheads reach their targets. Kansas City and the surrounding military bases and missile silos are destroyed. Marilyn and Bruce are incinerated. The Hendrys, having initially ignored the crisis, never make it out of their yard. A nuclear detonation flash-blinds young Danny Dahlberg when he looks at it. While still on the freeway after the EMP hits, Dr. Oakes witnesses two detonations, one over a military base and the other explosion directly over Kansas City. He walks to Lawrence, takes charge, and begins treating patients. Klein, who had hitchhiked as far as Harrisonville, finds the Dahlberg home and begs for refuge in the family's basement.

Oakes receives fallout reports by shortwave from Joe Huxley at the science building. The situation is dismal: travel outdoors is fatal, yet patients continue to come as resources dwindle. Huxley tries to contact other survivors, with no response. Delirious after days in the basement shelter and unable to remember her fiancé's face, Denise runs outside. Klein retrieves her, but they both get exposed to the thick radioactive dust and dead animals on the land. McCoy heads towards Sedalia until he hears from passing refugees that it and its environs have been obliterated. He befriends a mute man and travels to the hospital in Lawrence, where he dies of radiation poisoning. Oakes bonds with Nurse Nancy Bauer, who later dies of meningitis, and converses with an overdue pregnant woman who pleads with him to tell her she is wrong to be hopeless.

"The catastrophic events you have just witnessed are, in all likelihood, less severe than the destruction that would actually occur in the event of a full nuclear strike against the United States.

It is hoped that the images of this film will inspire the nations of this earth, their peoples and leaders, to find the means to avert the fateful day."

— Ending disclaimer

The

firing squad without first being proven guilty, including for petty crimes such as alleged looting. At a makeshift civilian gathering regarding agriculture, a meeting for growing enough food for the survivors lays out grandiose government plans (scrape 4–5 inches off your fields) but is unable to answer Jim's basic questions ("With 150–200 acres to a man?", "Put it where?", "Farm in what topsoil?"). Coming home, Jim is shot and killed by squatters
. Denise is balding, bruised, and dying, and Klein too has radiation sickness.

At last aware that he has sustained lethal exposure to radiation, Oakes returns to Kansas City to see the site of his home before he dies. He finds squatters there and attempts to drive them off, but is instead offered food. Oakes collapses and weeps, and one of the squatters comforts him. The film ends with an overlying audio clip of Huxley's voice on the radio as the screen fades to black, asking if anybody can still hear him, only to be met with silence until the credits, as a Morse code signal transmits a single message to the viewer: M-A-D.

Ending disclaimer

Most versions of The Day After include a textual ending disclaimer just before the end credits, stating that the film is fictional, and that the real-life outcome of a nuclear war would be much worse than the events portrayed onscreen.

Cast

Production

The Day After was the idea of ABC Motion Picture Division President Brandon Stoddard,[7] who, after watching The China Syndrome, was so impressed that he envisioned creating a film exploring the effects of nuclear war on the United States. Stoddard asked his executive vice president of television movies and miniseries, Stu Samuels, to develop a script. Samuels created the title The Day After to emphasize that the story was about not a nuclear war itself but the aftermath. Samuels suggested several writers, and eventually, Stoddard commissioned the veteran television writer Edward Hume to write the script in 1981. ABC, which financed the production, was concerned about the graphic nature of the film and how to portray the subject appropriately on a family-oriented television channel. Hume undertook a massive amount of research on nuclear war and went through several drafts until ABC finally deemed the plot and characters acceptable.

DeSoto, Kansas
.

Originally, the film was based more around and in Kansas City, Missouri. Kansas City was not bombed in the original script although

Central Missouri State University and was near Whiteman Air Force Base, and Lawrence was home of the University of Kansas
and was near Kansas City. Hume and Papazian ended up selecting Lawrence because of the access to a number of good locations: a university, a hospital, football and basketball venues, farms, and a flat countryside. Lawrence was also agreed upon as being the "geographic center" of the United States. The Lawrence people were urging ABC to change the name "Hampton" to "Lawrence" in the script.

Back in Los Angeles, the idea of making a TV movie showing the true effects of nuclear war on average American citizens was still stirring up controversy. ABC, Hume, and Papazian realized that for the scene depicting the nuclear blast, they would have to use state-of-the-art special effects and so took the first step by hiring some of the best special effects people in the business to draw up some

storyboards for the complicated blast scene. ABC then hired Robert Butler to direct the project. For several months, the group worked on drawing up storyboards and revising the script again and again. Then, in early 1982, Butler was forced to leave The Day After because of other contractual commitments. ABC then offered the project to two other directors, who both turned it down. Finally, in May, ABC hired the feature film director Nicholas Meyer, who had just completed the blockbuster Star Trek II: The Wrath of Khan
. Meyer was apprehensive at first and doubted ABC would get away with making a television film on nuclear war without the censors diminishing its effect. However, after reading the script, Meyer agreed to direct The Day After.

Meyer wanted to make sure that he would film the script he was offered. He did not want the censors to censor the film or the film to be a regular Hollywood disaster movie from the start. Meyer figured the more The Day After resembled such a film, the less effective it would be, and he preferred to present the facts of nuclear war to viewers. He made it clear to ABC that no big TV or film stars should be in The Day After. ABC agreed but wanted to have one star to help attract European audiences to the film when it would be shown theatrically there. Later, while flying to visit his parents in New York City, Meyer happened to be on the same plane with Jason Robards and asked him to join the cast.

Meyer plunged into several months of nuclear research, which made him quite pessimistic about the future, to the point of becoming ill each evening when he came home from work. Meyer and Papazian also made trips to the ABC censors and to the United States Department of Defense during their research phase and experienced conflicts with both. Meyer had many heated arguments over elements in the script that the network censors wanted cut out of the film. The Department of Defense said that it would cooperate with ABC if the script clarified that the Soviets launched their missiles first, which Meyer and Papazian took pains not to do.

Meyer, Papazian, Hume, and several casting directors spent most of July 1982 taking numerous trips to Kansas City. In between casting in Los Angeles, where they relied mostly on unknowns, they would fly to the Kansas City area to interview local actors and scout scenery. They were hoping to find some real Midwesterners for smaller roles. Hollywood casting directors strolled through shopping malls in Kansas City to look for local people to fill small and supporting roles, and the daily newspaper in Lawrence ran an advertisement calling for local residents of all ages to sign up for jobs as many extras in the film and a professor of theater and film at the University of Kansas were hired to head up the local casting of the movie. Out of the eighty or so speaking parts, only fifteen were cast in Los Angeles. The remaining roles were filled in Kansas City and Lawrence.

While in Kansas City, Meyer and Papazian toured the

Minuteman missile
silos stood nearby. Lawrence had some great locations, and its people were more supportive of the project. Suddenly, less emphasis was put on Kansas City, the decision was made to have the city annihilated in the script, and Lawrence was made the primary location in the film.

Editing

ABC originally planned to air The Day After as a four-hour "television event" that would be spread over two nights with a total running time of 180 minutes without commercials.[8] The director Nicholas Meyer felt the original script was padded, and suggested cutting out an hour of material to present the whole film in one night. The network stuck with its two-night broadcast plan, and Meyer filmed the entire three-hour script, as evidenced by a 172-minute workprint that has surfaced.[9] Subsequently, the network found that it was difficult to find advertisers because of the subject matter. ABC relented and allowed Meyer to edit the film for a one-night broadcast version. Meyer's original single-night cut ran two hours and twenty minutes, which he presented to the network. After that screening, many executives were deeply moved, and some even cried, which led Meyer to believe they approved of his cut.

Nevertheless, a further six-month struggle ensued over the final shape of the film. Network censors had opinions about the inclusion of specific scenes, and ABC itself was eventually intent on "trimming the film to the bone" and made demands to cut out many scenes that Meyer strongly lobbied to keep. Finally, Meyer and his editor, Bill Dornisch, balked. Dornisch was fired, and Meyer walked away from the project. ABC brought in other editors, but the network ultimately was not happy with the results they produced. It finally brought Meyer back and reached a compromise, with Meyer paring down The Day After to a final running time of 120 minutes.[10][11]

The Day Before campaign

Josh Baran and Mark Graham were

New York Times, and the BBC. As word got out about the film, higher ups wanted to see it including members of the House of Commons, and even the Pope. Baran and Graham called it The Day Before project to hijack ABC's marketing of the film. One scholar said they "pioneered the piggybacking of a public issue onto the release of a commercial media product", and Variety called it "the greatest PR campaign in history."[12]

The consequences of Meyer's bootleg copy and subsequent The Day Before PR campaign was a groundswell of public interest and discussion before the film was ever broadcast. This made it difficult for ABC executives to kill the film, because there were rumors they wanted to quietly shelve it, including rumors that Ronald Reagan had hinted to studio executives he didn't want the film broadcast.[12]

Broadcast

The Day After was initially scheduled to premiere on ABC in May 1983, but the post-production work to reduce the film's length pushed back its initial airdate to November. Censors forced ABC to cut an entire scene of a child having a nightmare about

diaphragm. Another scene in which a hospital patient abruptly sits up screaming was excised from the original television broadcast but restored for home video
releases. Meyer persuaded ABC to dedicate the film to the citizens of Lawrence and also to put a disclaimer at the end of the film after the credits to let the viewer know that The Day After downplayed the true effects of nuclear war so it could have a story. The disclaimer also included a list of books that provided more information on the subject.

The Day After received a large promotional campaign prior to its broadcast. Commercials aired several months in advance, and ABC distributed half-a-million "viewer's guides" that discussed the dangers of nuclear war and prepared the viewer for the graphic scenes of mushroom clouds and radiation burn victims. Discussion groups were also formed nationwide.[13]

Music

The composer

How Firm a Foundation". Although he recorded just under 30 minutes of music, much of it was edited out of the final cut. Music from the First Strike
footage, conversely, was not edited out.

Deleted and alternative scenes

The film was shortened from the original three hours of running time to two, which caused the scrapping of several planned special-effects scenes although storyboards were made in anticipation of a possible "expanded" version. They included a "bird's eye" view of Kansas City at the moment of two nuclear detonations as seen from a Boeing 737 airliner approaching the city's airport, simulated newsreel footage of U.S. troops in West Germany taking up positions in preparation of advancing Soviet armored units, and the tactical nuclear exchange in Germany between NATO and the Warsaw Pact after the attacking Warsaw Pact force breaks through and overwhelms the NATO lines.

ABC censors severely toned down scenes to reduce the body count or severe burn victims. Meyer refused to remove key scenes, but reportedly, some eight-and-a-half minutes of excised footage still exist, significantly more graphic. Some footage was reinstated for the film's release on home video. Additionally, the nuclear attack scene was longer and supposed to feature very graphic and very accurate shots of what happens to a human body during a nuclear blast. Examples included people being set on fire; their flesh

fallout shelters suffocating during the firestorm
. Also cut were images of radiation sickness, as well as graphic post-attack violence from survivors such as food riots, looting, and general lawlessness as authorities attempted to restore order.

One cut scene showed surviving students battling over food. The two sides were to be athletes and the science students under the guidance of Professor Huxley. Another brief scene that was later cut related to a firing squad in which two U.S. soldiers are blindfolded and executed. In that scene, an officer reads the charges, verdict, and sentence as a bandaged chaplain reads the

Last Rites.[citation needed] A similar sequence occurs in a 1965 British-produced faux documentary, The War Game. In the initial 1983 broadcast of The Day After, when the U.S. president addresses the nation, the voice was an imitation of President Reagan, who later stated that he watched the film and was deeply moved.[14]
In subsequent broadcasts, that voice was overdubbed by a stock actor.

Home video releases in the U.S. and internationally come in at various running times, many listed at 126 or 127 minutes. Full screen (4:3 aspect ratio) seems to be more common than widescreen. RCA videodiscs of the early 1980s were limited to 2 hours per disc so that full screen release appears to be closest to what originally aired on ABC in the U.S. A 2001 U.S. VHS version (Anchor Bay Entertainment, Troy, Michigan) lists a running time of 122 minutes. A 1995 double laser disc "director's cut" version (Image Entertainment) runs 127 minutes, includes commentary by director Nicholas Meyer and is "presented in its 1.75:1 European theatrical aspect ratio" (according to the LD jacket).

Two different German DVD releases run at 122 and 115 minutes respectively; the edits reportedly downplay the Soviet Union's role.

Kino Lorber and present the film in high definition. The release contains the 122-minute television cut, presented in a 4:3 aspect ratio as broadcast, as well as the 127-minute theatrical cut, presented in a 16:9 widescreen aspect ratio.[16]

Reception

On its original broadcast, on Sunday, November 20, 1983,

nuclear deterrence. Sagan described the arms race in the following terms: "Imagine a room awash in gasoline, and there are two implacable enemies in that room. One of them has nine thousand matches, the other seven thousand matches. Each of them is concerned about who's ahead, who's stronger."[18]

The film and its subject matter were prominently featured in the news media both before and after the broadcast, including on such covers as TIME,[19] Newsweek,[20] U.S. News & World Report,[21] and TV Guide.[22] Critics tended to claim the film was sensationalizing nuclear war or that it was too tame.[23] The special effects and realistic portrayal of nuclear war received praise. The film received 12 Emmy nominations and won two Emmy awards. It was rated "way above average" in Leonard Maltin's Movie Guide until all reviews for films exclusive to television were removed from the publication.[24]

In the United States, 38.5 million households, or an estimated 100 million people, watched The Day After on its first broadcast, a record audience for a made-for-TV movie.

Embassy Home Entertainment
.

The actor and former Nixon adviser

Amerika, also broadcast by ABC.[26] The New York Post accused Meyer of being a traitor, writing, "Why is Nicholas Meyer doing Yuri Andropov's work for him?"[27] Phyllis Schlafly declared that "This film was made by people who want to disarm the country, and who are willing to make a $7 million contribution to that cause".[27] Richard Grenier in the National Review accused The Day After of promoting "unpatriotic" and pro-Soviet attitudes.[28] Much press comment focused on the unanswered question in the film of who started the war.[27] The television critic Matt Zoller Seitz, in his 2016 book co-written with Alan Sepinwall, TV (The Book), named The Day After as the fourth-greatest American TV movie of all time: "Very possibly the bleakest TV-movie ever broadcast, The Day After is an explicitly antiwar statement dedicated entirely to showing audiences what would happen if nuclear weapons were used on civilian populations in the United States."[29]

Effects on policymakers

After seeing the film, Ronald Reagan wrote that the film had been very effective and left him depressed.

US President

apocryphal
story which claims that, after seeing the film, Ronald Reagan said: "That will not happen on my watch."

The film also had impact outside the United States. In 1987, during the era of Gorbachev's

U.S. Information Agency should work to have the television movie The Day After aired to the Soviet public."[33]

Accolades

The Day After won two

Emmy Awards and received 10 other Emmy nominations.[34]

Emmy Awards won:

Emmy Award nominations:

See also

References

  1. ^ "The Day After - 25 November 1983". BBC. Retrieved September 18, 2016.
  2. ^ Poniewozik, James (September 6, 2007). "ALL-TIME 100 TV Shows: The Day After". Time. Archived from the original on October 25, 2014. Retrieved January 17, 2017.
  3. ^ "Tipoff". The Ledger. January 20, 1989. Retrieved October 11, 2011.
  4. ^
    Tribune Media Services. March 21, 2009. Archived from the original
    on October 13, 2016. Retrieved January 17, 2017.
  5. ^ "«На следующий день» (The Day After, 1983)". КиноПоиск. Retrieved October 18, 2021.
  6. ^ "Soviet Union to air ABC's 'The Day After'".
  7. ISSN 0362-4331
    . Retrieved March 18, 2016.
  8. ^ Naha, Ed (April 1983). "L.A. Offbeat: A Lesson in Reality". Starlog: 24–25.
  9. ^ nisus8 (August 10, 2018), The Day After (1983) - 3-Hour Workprint Version, archived from the original on September 11, 2018, retrieved May 23, 2019{{citation}}: CS1 maint: numeric names: authors list (link)
  10. ^ a b Niccum, John (November 19, 2003). "Fallout from The Day After". lawrence.com. Retrieved October 11, 2011.
  11. ^ Meyer, Nicholas, "The View From the Bridge: Memories of Star Trek and a Life in Hollywood", page 150. Viking Adult, 2009
  12. ^
    ISBN 9781493079179
    .
  13. ^ McFadden, Robert D. (November 22, 1983). "Atomic War Film Spurs Nationwide Discussion". The New York Times.
  14. ^ Archived at Ghostarchive and the Wayback Machine: "The Day After: "Reagan-esque" Presidential Address". YouTube.
  15. ^ Movie-censorship.com
  16. ^ "The Day After (2-Disc Special Edition)".
  17. ^ 11/20/1983 The Day After Intro and Disclaimer ABC - via YouTube
  18. ISBN 978-0-7953-3073-5
    .
  19. ^ Time
  20. ^ "Backissues.com". Archived from the original on June 29, 2020. Retrieved June 28, 2020.
  21. ^ "Backissues.com". Archived from the original on June 28, 2020. Retrieved June 28, 2020.
  22. ^ "Backissues.com". Archived from the original on June 29, 2020. Retrieved June 28, 2020.
  23. ^ Emmanuel, Susan. "The Day After". The Museum of Broadcast Communications. Archived from the original on January 16, 2013.
  24. ^ Maltin, Leonard. Leonard Maltin's TV Movies And Video Guide 1987 edition. Signet. p. 218.
  25. ^ Stuever, Hank (May 12, 2016). "Yes, 'The Day After' really was the profound TV moment 'The Americans' makes it out to be". The Washington Post – Blogs. Retrieved May 21, 2019.
  26. ^ The New York Times: "TV VIEW; 'AMERKIA' (sic) – SLOGGING THROUGH A MUDDLE" By John J. O'Connor. Published February 15, 1987
  27. ^ a b c d e f g Empire, "How Ronald Reagan Learned To Start Worrying And Stop Loving The Bomb", November 2010, pp 134–140
  28. ^ Grenier, Richard. "The Brandon Stoddard Horror Show." National Review (1983): 1552–1554.
  29. ISBN 9781455588190
    .
  30. ^ Stover, Dawn (December 13, 2018). "Facing nuclear reality, 35 years after The Day After". Bulletin of the Atomic Scientists. Retrieved September 10, 2019.
  31. ^ "Diary Entry - 10/10/1983 | The Ronald Reagan Presidential Foundation & Institute". www.reaganfoundation.org. Retrieved September 10, 2019.
  32. ^ Reagan, An American Life, 585
  33. ^ "thomas.loc.gov, 98th Congress (1983–1984), H.CON.RES.229"
  34. ^ "The Day After An ABC Theatre Presentation". Television Academy. Retrieved January 13, 2019.

Further reading

  • Cheers, Michael, "Search for TV Stars Not Yielding Right Types", Kansas City Times, July 19, 1982.
  • Twardy, Chuck, "Moviemakers Cast About for Local Crowds", Lawrence Journal-World, August 16, 1982.
  • Twardy, Chuck, "Fake Farmstead Goes Up in Flames for Film", Lawrence Journal-World, August 17, 1982.
  • Laird, Linda, "The Days Before 'The Day After'", Midway, the Sunday Magazine Section of the
    Topeka Capital-Journal
    , August 22, 1982.
  • Twardy, Chuck, "Shooting on Schedule 'Day After' Movie", Lawrence Journal-World, August 23, 1982.
  • Lazzarino, Evie, "From Production Crew to Extras, a Day in the Life of 'Day After'", Lawrence Journal-World, August 29, 1982.
  • Rosenberg, Howard, "'Humanizing' Nuclear Devastation in Kansas", Los Angeles Times, September 1, 1982.
  • Schrenier, Bruce, "'The Day After' Filming Continues at KU",
    University Daily Kansan
    , September 2, 1982.
  • Appelbaum, Sharon, "Lawrence Folks Are Dying for a Part in TV's Armageddon", The Kansas City Star, September 3, 1982.
  • Hitchcock, Doug, "Movie Makeup Manufactures Medical Mess", Lawrence Journal-World, September 5, 1982.
  • Twardy, Chuck, "Nicholas Meyer Tackles Biggest Fantasy", Lawrence Journal-World, September 5, 1982.
  • Twardy, Chuck, "How to Spend $1 Million in Lawrence", Lawrence Journal-World, September 5, 1982.
  • Twardy, Chuck, "Students Assume War-Torn Look as Film Shooting Winds Down", Lawrence Journal-World, September 8, 1982.
  • Goodman, Howard, "KC 'Holocaust' a Mix of Horror and Hollywood", Kansas City Times, September 11, 1982.
  • Jordan, Gerald B., "Local Filming of Nuclear Disaster Almost Fizzles", The Kansas City Star, September 13, 1982.
  • Kindall, James, "Apocalypse Now", The Kansas City Star Weekly Magazine, October 17, 1982.
  • Loverock, Patricia, "ABC Films Nuclear Holocaust in Kansas", On Location magazine, November 1983.
  • Bauman, Melissa, "ABC Official Denies Network Can't Find Sponsors for Show", Lawrence Journal-World, November 13, 1983.
  • Meyer, Nicholas, "'The Day After': Bringing the Unwatchable to TV", TV Guide, November 19, 1983.
  • Torriero, E.A., "The Day Before 'The Day After'", Kansas City Times, November 20, 1983.
  • Hoenk, Mary, "'Day After': Are Young Viewers Ready?", Lawrence Journal-World, November 20, 1983.
  • Helliker, Kevin, "'Day After' Yields a Grim Evening", Kansas City Times, November 21, 1983.
  • Trowbridge, Caroline and Hoenk, Mary, "Film's Fallout: A Solemn Plea for Peace", Lawrence Journal-World, November 21, 1983.
  • Greenberger, Robert, "Nicholas Meyer: Witness at the End of the World", Starlog magazine, January 1984.
  • Eisenberg, Adam, "Waging a Four-Minute War", Cinefex magazine, January 1984.
  • Boyd-Bowman, Susan (1984). "The Day After: Representations of the Nuclear Holocaust". Screen. 6 (4): 18–27.
  • Perrine, Toni A. (1991). Beyond Apocalypse: Recent Representations of Nuclear War and Its Aftermath in United States Narrative Film (Doctorate). Final Draft.
  • Meyer, Nicholas (1983). The Day After (TV-Miniseries). United States: Embassy Home Entertainment. Archived from the original on August 13, 2019. Retrieved June 30, 2018.

External links

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