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• W824147592 abstract "[ILLUSTRATION OMITTED] There is nothing especially new about speculating about end of world--cultures have, after all, prophesized and fantasized about end of both human existence and as we know it for thousands of years. (1) concept is simple: everything dies. In representations of apocalypse this individual biological certainty happens simultaneously for all, and brings about extinction of humanity. Such a hauntingly bleak fate has found a home in interpretations of prophecies of long since vanished Mayans, John Milton's epic poem Paradise Lost and paintings of John Martin, for example. (2) Whether captivating audiences with alarmingly high body counts presented by such destructive storylines or just engrossing them in global death as something fantastical, end of world has unsurprisingly also found a home in film and, especially, American film. These films, which meet destructive semantic and syntactic demands of disaster genre, position their narratives within a wider, global setting. For spectator such films both estrange cataclysmic sights they cinematically witness and personalize them (by addressing threat of extinction). In fact, commercial viability of films that fixate on death of everything was demonstrated when Roland Emmerich's 2012 became [5.sup.th] highest-grossing film worldwide in 2009 (behind three well-established franchises and James Cameron's Avatar [2009]), while films such as Terminator 2: Judgment Day (fames Cameron, 1991) and (Michael Bay, 1998) similarly dominated box office as highest-grossing films of their respective years. (3) These big-budget Hollywood successes indicate an audience fascination with mass-destructive spectacles--a fascination that Winston Wheeler Dixon fleetingly calls the romance of Armageddon in his book Visions of Apocalypse, (4) But just how are these images presented? How are we able to watch hundreds, thousands, even millions die in a single shot and not be disturbed, repulsed or saddened? What cinematic manipulations are at work in order to ensure that prospect of death of (almost) every human being remains an enjoyable form of entertainment for audiences? What I propose is that there are three key forms of spectatorship at work in this body of films: one detached from its atrocities, yet optimistic about their outcome (tales of survival in face of destruction); one that encourages a more personal, yet pessimistic viewing perspective (in which world does ultimately end); and finally, one where optimism and pessimism are equally weighted in a familiar, yet fantastical rendition of end of world (the post-apocalypse). It is first of these, hopeful engagement with apocalypse, with which this article is primarily concerned. (5) When considering representation of end of all things in these films, one might argue that Bible has been one of most prevalent influences on their contents, at least within an American context. In The Revelation of John, Apocalypse is presented as a global/human ending which separates negative aspects of life from positive--by casting them into fire: Then I saw a great white throne, and One who sat upon it; from his presence earth and heaven vanished away, and no place was left for them. I could see dead, great and small, standing before throne; and books were opened. Then another book was opened, roll of living. From what was written in these books dead were judged upon record of their deeds....I saw holy city, new Jerusalem, coming down out of heaven from God ... I heard a loud voice proclaiming from throne: Now at last God has his dwelling among men! ... He will wipe every tear from their eyes; there shall be an end to death, and to mourning and crying and pain; for old order has passed away! …" @default.
• W824147592 created "2016-06-24" @default.
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• W824147592 date "2015-12-22" @default.
• W824147592 modified "2023-09-24" @default.
• W824147592 title "The End of All Things: Overcoming the End of the World in American Cinema" @default.
• W824147592 hasPublicationYear "2015" @default.
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