Gothic meltdown
German nuclear cinema in neoliberal times
in Neoliberal Gothic
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact for pricing options.


If you have an access token for this content, you can redeem this via the link below:

Redeem token

Compared to the number of films devoted to nuclear war, the catastrophic nuclear accident never acquired its own cinematic genre. Disaster films about civilian nuclear accidents would seem perfectly poised to serve that function to nuclear power as a technology emblematic of recent neoliberal politics. This chapter examines three films in order to explore this hypothesis about the confluence of gothic representations and neoliberal politics within the realm of nuclear power. The films discussed include Gregor Schnitzler's Die Wolke, Andreas Prochaska's Der erste Tag, and Volker Sattel's Unter Kontrolle that that deal with nuclear power in the European context and from a uniquely German perspective. Die Wolke and Der erste Tag project the abolition of nuclear power into an imaginary future, either as the democratically desired result of the lesson learned from history or as the inevitable outcome of economic and political strictures.

Neoliberal Gothic

International Gothic in the Neoliberal Age




All Time Past Year Past 30 Days
Abstract Views 63 28 0
Full Text Views 24 9 0
PDF Downloads 9 4 0