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Apocalyptic Projections have been pondered since Biblical times. Theories abounded in an attempt to prepare for calamity and plan for the future. Worldwide concern regarding a twenty-first century apocalypse, related to the 2012 Mayan Apocalyptic prediction, sparked renewed interest. Even though the concept of apocalypse evokes images of total oblivion, threads of possibility and redemption offer a potential fabric of hope. The majority of the papers included in Apocalyptic Projections were p...
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The apocalypse's triumph is witnessed in the arts, literature, music, film, TV, and digital media thereby enabling us to view the very essence of Apocalypse as a cultural phenomenon.--
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Apocalyptic Transformation explores how one the oldest sense-making paradigms, the apocalyptic myth, is altered when postmodern authors and filmmakers adopt it. It examines how postmodern writers adapt a fundamentally religious story for a secular audience and it proposes that even as these writers use the myth in traditional ways, they simultaneously undermine and criticize the grand narrative of apocalypse itself.
American fiction --- Apocalyptic literature --- End of the world in literature. --- Apocalypse in motion pictures. --- Postmodernism. --- History and criticism.
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In Apocalyptic Dread, Kirsten Moana Thompson examines how fears and anxieties about the future are reflected in recent American cinema. Through close readings of such films as Cape Fear, Candyman, Dolores Claiborne, Se7en, Signs, and War of the Worlds, Thompson argues that a longstanding American apocalyptic tradition permeates our popular culture, spreading from science-fiction and disaster films into horror, crime, and melodrama. Drawing upon Kierkegaard's notion of dread—that is, a fundamental anxiety and ambivalence about existential choice and the future—Thompson suggests that the apocalyptic dread revealed in these films, and its guiding tropes of violence, retribution, and renewal, also reveal deep-seated anxieties about historical fragmentation and change, anxieties that are in turn displaced onto each film's particular "monster," whether human, demonic, or eschatological.
Apocalypse in motion pictures. --- Science fiction films --- Disaster films --- Horror films --- Catastrophe films --- Disaster movies --- Motion pictures --- Apocalypse as a theme in motion pictures --- History and criticism.
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"This book offers both a history of apocalyptic culture in the Caribbean and an up-to-date account of the social, political, environmental, religious, and economic factors that have brought apocalypse back to prominence in the region" --
Haitian literature --- Apocalypse in literature. --- Apocalypse in motion pictures. --- Religion --- Psychic trauma --- Literature and history --- History and criticism. --- Haiti --- In literature. --- Social conditions.
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This book examines historical and imaginary scenarios of apocalypse, the depiction of its likely triggers, and imagined landscapes in the aftermath of global destruction. Its discussion moves effortlessly from classic novels including Aldous Huxleys Brave New World, George Orwells Nineteen Eighty-Four and Margaret Atwoods Oryx and Crake, to blockbuster films such as Blade Runner, Armageddon and The Terminator. The author also takes into account religious doctrine, scientific research and the visual arts to create a penetrating, multi-disciplinary study that provides profound insight into one of Western cultures darkest and most enduring preoccupations.
Apocalypse in art. --- Apocalypse in literature. --- Apocalypse in motion pictures. --- End of the world. --- Religion --- Philosophy & Religion --- Christianity --- Apocalypse as a theme in motion pictures --- World, End of the --- Motion pictures --- Eschatology --- literature --- oryx and crake --- margaret atwood --- cultural studies --- douglas adams --- terminator --- blade runner --- george orwell --- apocalypse --- aldous huxley --- john wyndham --- nineteen eighty-four --- 1984 --- brave new world --- film studies --- armageddon --- harry potter --- Utopia
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Undead Ends is about how we imagine humanness and survival in the aftermath of disaster. This book frames modern British and American apocalypse films as sites of interpretive struggle. It asks what, exactly, is ending? Whose dreams of starting over take center stage, and why? And how do these films, sometimes in spite of themselves, make room to dream of new beginnings that don't just reboot the world we know? Trimble argues that contemporary apocalypse films aren't so much envisioning The End of the world as the end of a particular world; not The End of humanness but, rather, the end of Man. Through readings of The Road, I Am Legend, 28 Days Later, 28 Weeks Later, Children of Men, and Beasts of the Southern Wild, this book demonstrates that popular stories of apocalypse can trouble, rather than reproduce, Man's story of humanness. With some creative re-reading, they can even unfold towards unexpected futures. Mainstream apocalypse films are, in short, an occasion to imagine a world After Man.
Apocalyptic films --- Apocalypse in motion pictures. --- Apocalypse as a theme in motion pictures --- Motion pictures --- Doomsday films --- End-of-the-world films --- Post-apocalyptic films --- Post-apocalyptic science fiction films --- Postapocalyptic films --- Postapocalyptic science fiction films --- History and criticism. --- 24.31 theory and aesthetics of film art. --- Apocalyptic films. --- LITERARY CRITICISM / Caribbean & Latin American. --- SOCIAL SCIENCE / Black Studies (Global). --- SOCIAL SCIENCE / Feminism & Feminist Theory. --- History and criticism --- Great Britain. --- United States.
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