A Guide to Apocalyptic Cinema - download pdf or read online

By Charles P. Mitchell

This exam and finished overview of apocalyptic movie experiences fifty movies that illustrate the range, variety and diverse different types of the style. Apocalyptic motion pictures are those who depict, on monitor as a part of the tale, an occasion threatening the extinction of mankind. a short review identifies seven significant different types of apocalyptic movies: the spiritual or supernatural, celestial collision, sun or orbital disruption, nuclear struggle and radioactive fallout, germ battle or pestilence, alien equipment or invasion, and medical miscalculation. Alphabetically prepared entries fee the flicks and supply creation info, an annotated forged directory, a synopsis of the movie, a critique, and consultant quotes.

Film students and people with a different curiosity in apocalyptic cinema will enjoy the evaluate and distinctive research of the flicks. Appendices offer extra examples of apocalyptic video clips excluded from the most textual content, a sampling of post-apocalyptic cinema that is exact from the apocalyptic style and examples of apocalyptic tv. Illustrations are incorporated.

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Extra resources for A Guide to Apocalyptic Cinema

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You lived with her. Neither of us could believe she’d take that money. And yet there’s no other answer. She did take it” (163–64). The larger question of identity, the ultimate inscrutability and hidden lives of those we think we know, becomes a subtheme in the novel, linking Mary’s transgression to Norman’s acts of horror and situating them in the same continuum of psychological darkness. None of the novel’s characters possesses the poetic sensitivity of the film’s Norman, or achieves the level of understanding or inspires the interest that Marion does.

Maybe she could manage to throw off the police. But Sam would ask questions.  . And then there was Lila. (47) While Mary recognizes how much more fortunate she is than Norman, her primary realization is how hard it will be to get away with the crime, and this is what makes her decide to return the money before the theft is discovered. Rather than reaching a moment of personal recognition and responsibility, as her counterpart does in the film, she reasons that it would be “crazy” of her to think she could make up some plausible explanation for her possession of the stolen money.

The scene in the novel that the film’s parlor scene was based upon is different in tone and focus. In the novel it takes place in the kitchen of the house, not the motel parlor, and stays close to Mary’s point of view and her reactions to Norman, who, as in the film, dominates the dialogue. Listening to Norman as she hungrily eats the supper of sausage, cheese, and homemade pickles he has prepared (as opposed to bread and butter for the film’s more abstemious Marion), she is struck by his words, especially when, referring to Mother, he says as an afterthought to his tirade about sanity: “I think perhaps all of us go a little crazy at times” (a line Stefano used in the screenplay in slightly altered form).

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