For many people, the first line of exposure to nuclear weapons issues is through history or social science courses taken in high school. Information shared in the classroom often centers on status-quo perspectives or the grand narratives of nation states, as governments often have influence over classroom materials. It is also usually the first time people encounter imagery of war as historical source and narrative, enabling students to make connections between past and present manifestations of political violence. Moreover, some scholars argue that classroom impressions are formative; students may not necessarily remember specific historical facts as they age, but they are more likely to carry general lessons learned through adulthood, which will inevitably shape their framing of the world.

Nuclear narratives are not only forged by sweeping national histories, but are also influenced by localized reference points that balance and further contextualize monolithic understandings and assumptions. Nuclear weapons, while controlled and brandished by world leaders at the international level, are intimately felt at the local level; the infrastructure of a weapons program could power local economies (U.S. Air force bases where nuclear missile silos are maintained bring millions of dollars to their host states, such as Nebraska and Montana) or devastate ecological and human health in other areas (the countless examples of frontline communities suffering from the effects of nuclear testing.) Some scholars argue that hyperlocal experiences don’t receive enough emphasis in narrative-making; painting the topic with too broad of a brushstroke – the”unthinkable” weapon that threatens all humanity – erases the unique and intimate experiences of those whose lands and bodies have been harmed. The threat of nuclear weapons is borderless, yet it has made an irrevocable imprint on specific localities. As such, local accounts could support or contest government-sanctioned narratives depending on the place and the communities in it.

Public interpretations of nuclear-related information through different media produces cultural imagery – from early novels about the deadly effects of radiation to today’s apocalyptic memes found online – which in turn create impressions transcending space and time. Unlike rote learning in school or lived experience, cultural imagery is emergent and accumulative. They can rally large groups of people towards a core message or emotional response. For instance, fear is the central emotion associated with nuclear technologies, in part due to the images that have been created, some intentionally while others by chance, as a way to process and respond to nuclear-related events. Images and stories can serve as conduits through which viewers can relate to and reflect on a particular situation, even imagine themselves in the moment. Images can also be disruptive agents that counter government messaging. As powerful as they may be, some scholars contend that these types of artifacts are heavily context dependent; their effects are contingent on the producer and viewer, such as geographies, nationalities, social values, among others. Thus, cultural imagery cannot produce narratives on their own, but rather amplify, preserve, exaggerate, or marginalize them.