By Wheeler Winston Dixon
Filenote: PDF retail from EBL. Publisher/EBL seem to have created it by way of taking their great epub and switched over to PDF + pagination instead of the common appealing PDF imprint.
Visions of the Apocalypse examines the cinema's fascination with the possibility of nuclear and/or typical annihilation, as obvious in such motion pictures as "Saving deepest Ryan, Bowling for Columbine, We have been infantrymen, Invasion usa, The final struggle, Tidal Wave, The mattress Sitting Room, The final Days of guy on Earth" and various 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 artistic hazards.
Along the best way, the writer discusses such issues because the demise of movie itself, to get replaced by way of electronic video; the political and social tensions that experience made those visions of countless destruction so beautiful to the general public; and the hot wave of Hollywood struggle 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 never-ending urge for food for spectacles of destruction.
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Extra resources for Visions of the Apocalypse: Spectacles of Destruction in American Cinema
You really have to look at the success of Star Wars as one of the signature enterprises in this trend,” said Sean Daniel, a producer of The Scorpion King and a former studio production chief. “Truly, that series was—and is—the envy of everybody. As the movie culture becomes more global, there is an added value to making movies that are part of a series or attached somehow to some title or brand that already has market recognition” (qtd. in Lyman, 32 “Spinoff” B1). In addition to the aforementioned franchise films, we see new versions of Halloween, more Harry Potter films, more American Pie sequels, The Fast and the Furious 2 (the “original” itself was a thematic remake of a 1954 film by legendary exploitation producer Roger Corman), and the list goes on and on.
Both films are readily available on video and shown constantly on television; The Day the Earth Caught Fire, which is in CinemaScope, has even been screened on commercial television in letterbox format. Both films sit on my shelves in DVD format, but nothing prepared me for the shock of seeing them projected again, for the first time in nearly 40 years, on a large screen with first-rate International Alliance of Theatrical Stage Employees (IATSE) union projectionists in front of an appreciative audience.
In many ways, the current flight abroad (for production only; the actual decisionmaking apparatus remains firmly entrenched in Los Angeles) mimics the move to Hollywood from New York in the early part of the last century as independent producers sought to escape the interference and monopolistic threats of the Edison trust. However, in the contemporary model, we have no cinematic pioneers trying to create a new industry free from conglomerate restriction, but rather the tentacle of twenty-first century megaconglomerates reaching out to colonize new international territories for cheaper production.