By Charles P. Mitchell
This exam and entire overview of apocalyptic movie stories fifty motion pictures that illustrate the range, diversity and varied different types of the style. Apocalyptic motion pictures are those who depict, on reveal as a part of the tale, an occasion threatening the extinction of mankind. a quick evaluate identifies seven significant different types of apocalyptic motion pictures: the non secular or supernatural, celestial collision, sunlight or orbital disruption, nuclear warfare and radioactive fallout, germ war or pestilence, alien machine or invasion, and medical miscalculation. Alphabetically prepared entries fee the flicks and supply construction details, an annotated forged directory, a synopsis of the movie, a critique, and consultant quotes.
Film students and people with a distinct curiosity in apocalyptic cinema will get pleasure from the evaluate and unique research of the flicks. Appendices supply extra examples of apocalyptic videos excluded from the most textual content, a sampling of post-apocalyptic cinema that's specific from the apocalyptic style and examples of apocalyptic tv. Illustrations are incorporated.
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Additional info for A Guide to Apocalyptic Cinema
Shortly after realizing the conﬂicts they have brought to Troy, with the camera focused on her face from behind Paris’ 59 This hairstyle might more simply represent the hairstyles on archaic Greek female statues often depicted with multiple braids hanging down their fronts and a broad, braided panel down the back. But the other Medusa hints might concurrently extend to colour the interpretation of Helen’s coiffure here. On snaky hair designs, see Day and Nikoloutsos (this volume). 60 Later in the ﬁlm, the Gorgoneion appears on Agamemnon’s shield, war standard, and is painted on the prow of his ship; Cassandra and Andromache have similar ringleted, braided hairstyles.
13 Dyer (1997: 145–83), MacKinnon (2002), Günsberg (2005: 102, 130–1), Turner (2009). , Shahabudin (2009) and Pomeroy (this volume). See Günsberg (2005: 103) for the colour associations. 15 Günsberg (2005: 101–4), Pomeroy (2008: 33), Nikoloutsos (2013: 264–72). 16 ‘Helen of Troy particularly shines as a thoughtful, literate screenplay’ (Nisbet 2006: 33). Nisbet adds that screenwriter Hugh Gray’s handling of some ancient features provides ‘treats for classicists’ (34). 17 Regarding social signiﬁcation, Ross (2002: Introduction) observes that since their inception in the 1890s movies have always exerted a major inﬂuence on social values and customs, both conforming to dominant social trends as well as advancing alternative ideas.
Her costume serves a dual purpose: it is sexy, a soft fabric thinly draping her perky lifted breasts and a wet cloth clinging around her legs; she is, nevertheless, modestly covered from breasts to mid-thigh, and her tunic’s soft pastel colour signals Helen’s good character. Clad in this outﬁt for her ﬁrst seven minutes onscreen, this portrayal ﬁxes this blonde pixie-like image of Helen’s mythical beauty in the minds of the audience as the basis for her subsequent portrayal in the ﬁlm. Repeatedly the camera focuses on these images of Helen as idealized blonde beauty, while Paris, Cassandra, Priam, and Hecuba afﬁrm the visual clues, each remarking on Helen’s outstanding beauty on several occasions in the ﬁlm.
A Guide to Apocalyptic Cinema by Charles P. Mitchell