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--------------------------------------------------------------------------------


HISTORY


DIGGING UP THE HISTORY OF THE NUCLEAR FALLOUT SHELTER

For 75 years, images of bunker life have reflected the shifting optimism,
anxieties and cynicism of the Atomic Age

Thomas Bishop, Zócalo Public Square

April 25, 2022 7:30 a.m.

--------------------------------------------------------------------------------

A Long Island family sits in a "Kidde Kokoon" underground bomb shelter in 1955.
Photo by Underwood Archives / Getty Images

The Russian invasion of Ukraine isn’t the first conflict to unfold on social
media, but commentators have been quick to dub it the first “TikTok War.” Videos
by young Ukrainians inside bomb shelters represent some of the most personal
glimpses to date of teenage life inside a war zone. Amassing millions of views,
offerings like “My Typical Day in a Bomb Shelter” and “What I Buy in a
Supermarket During a War” document destroyed cities, bunker cooking and daily
life underground, with nuclear threat lurking offscreen. Broadcast on an
unprecedented scale, these viral visuals of family shelters have worked their
way into our collective consciousness, humanizing the headlines and bringing the
threat of nuclear destruction directly to our devices.

While the technology to share these images from Ukraine may be more advanced
than ever before, the visuals of families in bomb shelters have always brought
conflict to our doorsteps by making geopolitics concrete. A litany of
photographs, government films and Hollywood movies over the last 75 years
communicates the public’s fears of nuclear war. These images offer us a nuclear
temperature check of sorts, reflecting the shifting optimism, anxieties and
cynicism of the times.

> 



It all started in Japan in the 1940s, in the immediate aftermath of the atomic
attacks on Hiroshima and Nagasaki, when images of hibakusha (Japanese survivors
of the bomb) and cities reduced to rubble first emerged. Since then, Japanese
popular culture has always kept the atomic bomb front and center, from genbaku
bungaku (atomic bomb literature) to the recognition of Godzilla (1954) as an
atomic text to the global success of anime films such as Akira (1988) and the
work of Studio Ghibli.

Each nation had its own unique cultural reaction to the bomb. In the United
States, the Federal Civil Defense Administration (FCDA), founded in 1951, set
out to convince Americans that if the bomb did drop, they could survive the
fallout. Over the course of a decade, the agency attempted to quell public
anxiety over nuclear exchange with the Soviet Union through public education
campaigns, school room drills and exercises.

1950s diagram of a fallout shelter for four to six people Public domain via
Digital Public Library of America

Nearly half a billion FCDA booklets depicted the all-American family in their
fallout shelter, creating a key visual focal point for early conversation about
nuclear war in the U.S. Decidedly suburban, heteronormative and middle class in
nature, this visual of white American families carefully lining shelter shelves
with canned goods or taking their children by the hand as they walked toward
their underground refuges broadcast a clear government-sanctioned message: A
family that is together, well organized and ready could survive the next war. Of
course, the messaging had as much to do with domestic politics as with
preparedness, reinforcing traditional ideas about marriage and family values.

Overlooking complex questions of class, race and sexuality, this doctrine of DIY
survival also shifted responsibility away from the state. Putting the onus on
the individual might have been a cheap and attractive policy for the government,
but the notion of a nation of shelter builders taking survival into their own
hands could only go so far. With the development of the hydrogen bomb and the
knowledge that nuclear fallout caused cancer and cardiovascular disease, by the
1960s, the first generation to grow up in the shadow of the bomb had begun to
question whether nuclear war was winnable in a traditional sense.



The anti-nuclear movement grew out of this, and with it, pop culture images of
the family fallout shelter took a turn for the cynical. In a 1961 episode of
“The Twilight Zone,” a quiet dinner party turned into a community tearing itself
apart as fictional suburbanites scrambled to access the only fallout shelter in
town. In the run up to the Cuban Missile Crisis, the Saturday Review covered a
town hall meeting in Hartford, Connecticut, that descended into chaos when a
community member threatened to shoot anyone who approached his private shelter.

Governor Robert Stafford of Vermont cuts a ribbon in front of a prototype
fallout shelter constructed at a home in Montpelier. Public domain via Digital
Public Library of America

Depictions of fallout shelters continued to reflect the public’s shifting moods
as the Cold War fluctuated in temperature. When Vietnam dominated headlines in
the late 1960s and 1970s, cultural discussion around family shelters largely
disappeared; the shift from atmospheric to underground testing of nuclear
weapons, the passage of the Partial Test Ban Treaty in 1963 and a decade of
thawing U.S.-Soviet tensions also fostered an atmosphere of relative ease. But a
generation later, the election of Ronald Reagan returned nuclear war to
watercooler conversation. By 1984, politicians were obsessing over the “evil
empire,” and pop group Frankie Goes to Hollywood topped the charts with “Two
Tribes,” a single lamenting Cold War jockeying.

Fallout shelters reemerged—though the family of the 1950s happily starting a new
life underground had by then become a quaint relic of an already bygone past. In
the 1980s, as global stockpiles of nuclear warheads reached over 50,000, visual
culture around shelters got increasingly bleak. With anti-nuclear activism
heating up, the arts presented a society on fire, where the fallout shelter took
on a new symbolic role: futile final bastion in a world devoid of hope.

In the United Kingdom, where NATO stationed cruise missiles in 1979, filmmakers
contributed two notable visions of bunkered families facing the end of the
world. The animated feature When the Wind Blows (1986) told the story of an
elderly couple, Jim and Hilda Bloggs, living in a tiny Cotswolds village after a
nuclear strike rendered Britain a radioactive wasteland. The terrifying
docudrama Threads (1984) dramatized the devastation of thermonuclear war in
Sheffield and traumatized a generation.



The Cold War’s conclusion—the “end of history,” as political scientist Francis
Fukuyama declared—repurposed shelters as historical relics that, in turn, became
objects of nuclear nostalgia in culture. In the 1999 film Blast From the Past,
for example, the family shelter became the perfect premise for a romantic
comedy. Adam Webber (played by Brendan Fraser) is sealed away in his family’s
bomb shelter during the Cuban Missile Crisis and emerges into the bustling
modern world of the 1990s. Having grown up on a television diet of “I Love Lucy”
and “The Honeymooners,” Webber’s efforts to find love render the fallout shelter
a harmless time capsule of Cold War kitsch. Meanwhile, players of the first
installment of blockbuster video game “Fallout” (1997) took control of a “vault
dweller,” similarly emerging from a bunker, to seek adventure.



Recent events have brought back images of family shelters, and today’s sobering
shelter TikToks are whipsawing public consciousness again. It’s hard to predict
what this latest paradigm shift will bring, with the situation in Ukraine being
so fluid. What’s clear is that visuals of fallout shelters still shake us.
Removed from carefully curated government pamphlets or movie sets,
self-documented social media provides an uncensored and devastating look at the
human costs of conflict through bunker life. The question now is whether these
new depictions of bunker life will encourage this generation to create a world
where nuclear fallout shelters can return to objects of harmless fiction once
again.

Thomas Bishop is a historian at the University of Lincoln in England. He is the
author of Every Home a Fortress: Fatherhood and the Family Fallout Shelter.


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