By Wheeler Winston Dixon
Visions of the Apocalypse examines the cinema's fascination with the possibility of nuclear and/or ordinary annihilation, as obvious in such motion pictures as "Saving deepest Ryan, Bowling for Columbine, We have been infantrymen, Invasion united states, The final struggle, Tidal Wave, The mattress Sitting Room, The final Days of guy on Earth" and diverse others. It additionally considers the ways that modern cinema has turn into more and more hyper-conglomerised, resulting in movies with ever-higher budgets and less inventive dangers.
Along the best way, the writer discusses such subject matters because the loss of life of movie itself, to get replaced via electronic video; the political and social tensions that experience made those visions of limitless destruction so beautiful to the general public; and the hot wave of Hollywood battle movies, coupled with escapist comedies, within the post-9/11 period. Encompassing either questions of actual and filmic mortality Visions of the Apocalypse is a meditation at the questions of time, reminiscence and the cinema's probably endless urge for food for spectacles of destruction.
Read Online or Download Visions of the Apocalypse: Spectacles of Destruction in American Cinema PDF
Similar film books
In 1897, Archibald Constable & corporation released a unique by means of the unheralded Bram Stoker. That novel, Dracula, has long past directly to turn into possibly the main influential novel of all time. To commemorate the centennial of that groovy novel, Carol Margaret Davison has introduced jointly this selection of essays via a few of the world's major students. The essays research Stoker's unique novel and have a good time its legacy in pop culture. the continued presence of Dracula and vampire fiction and flicks presents facts that, as Davison writes, Dracula is "alive and sucking. "
"Dracula is a Gothic mandala, an enormous layout within which a number of reflections of the weather of the style are configured in stylish units of symmetries. it's also a kind of lens, bringing concentration and compression to various Gothic motifs, together with not just vampirism yet insanity, the evening, spoiled innocence, ailment in nature, sacrilege, cannibalism, necrophilia, psychic projection, the succubus, the incubus, the smash, and the tomb. accumulating up and unifying all that got here sooner than it, and casting its nice shadow over all that got here and keeps to come back after, its effect on twentieth-century Gothic fiction and movie is exclusive and impossible to resist. "
-from the Preface via Patrick McGrath
From Amazon: "For Nick James, the pleasures and virtues of this movie are combined and complicated. Its specific compositions and minimalist type are entangled with a specific type of extravagant bombast. The complexities upload to the curiosity of this bold movie. " Nick James is the editor of Sight and Sound journal.
Attention-grabbing, attractive and provocative . .. This finely researched examine is a must-read for movie students, movie enthusiasts and a person attracted to the non secular dimensions of pop culture and well known leisure. Barbara Creed, Professor of reveal reports, Head of the varsity of tradition and verbal exchange, collage of MelbourneA hugely unique paintings of scholarship .
This booklet explores the ways that the British respectable movie used to be utilized in Malaya/Malaysia, Singapore and Hong Kong from 1945 to the Nineteen Seventies. Aitken uncovers how the British legitimate movie, and British respectable details enterprises, tailored to the epochal contexts of the chilly struggle and finish of empire. as well as an in depth advent, which touches on a couple of serious matters relating to the post-war British reliable movie, the booklet offers an account of ways the culture of film-making linked to the British documentary movie circulate unfold into the quarter throughout the post-war interval, and the way that culture was once contested by way of a ‘Colonial workplace’ culture of film-making.
- A Companion to Jean Renoir (Wiley-Blackwell Companions to Film Directors)
- Krzysztof Kieślowski: Interviews (Conversations with Filmmakers Series)
- Conversations with the Great Moviemakers of Hollywood's Golden Age at the American Film Institute
- Xerox Ferox: The Wild World of the Horror Film Fanzine
- Conquest of the Useless: Reflections from the Making of Fitzcarraldo
- The Art and Making of ParaNorman
Additional resources for Visions of the Apocalypse: Spectacles of Destruction in American Cinema
92 Including a vertical harmonic unity, these techniques are fundamental in a dialectical approach to form. There was another way in which the form of a fugue would be useful in the sound film. Eisenstein mentions that one of J. S. Bach’s main points in his own teaching of fugue was the equal role of parts in the texture of the counterpoint – these were like voices of living people. 93 This approach provides an aspect of fugue which relates it to drama, thereby appealing to the humanistic and socially-conscious aspects of Eisenstein’s work in cinema.
He found that the music of J. S. Bach was a great help in this respect. 25 In the attempt to find some sort of equilibrium in the forms he used in his drawings, Richter’s passion for music led him to the idea of meeting with the Italian German composer Ferruccio Busoni. Also living in Zürich, Busoni was famous as a piano virtuoso, conductor, composer, and specialist in the music of J. S. Bach. In the evenings he would hold court by a fountain outside Zürich railway station. Richter sought his advice about how he could obtain a sense of equilibrium and counter-equilibrium between the black ink marks and the white paper in his drawings, a difficulty he believed was analogous to a musical problem.
He used techniques derived from music to control what he called ‘the heap of fragments inherited from the Cubists’. ’ He found that the music of J. S. Bach was a great help in this respect. 25 In the attempt to find some sort of equilibrium in the forms he used in his drawings, Richter’s passion for music led him to the idea of meeting with the Italian German composer Ferruccio Busoni. Also living in Zürich, Busoni was famous as a piano virtuoso, conductor, composer, and specialist in the music of J.