Apocalyptic dread : American film at the turn of the millennium / Kirsten Moana Thompson.
Material type:
TextSeries: SUNY series, horizons of cinema: Publisher: Albany : State University of New York Press, c2007Description: xii, 195 p. : ill. ; 23 cmISBN: 9780791470442 (pbk. : alk. paper); 9780791470435 (hbk. : alk. paper); 0791470431 (hbk. : alk. paper); 079147044X (pbk. : alk. paper)Subject(s): Horror films -- United States -- History and criticism | Disaster films -- United States -- History and criticism | Science fiction films -- United States -- History and criticism | Apocalypse in motion pictures | Film | Geschichte | Horrorfilm | Motiv (Kunst) | Weltuntergang | USA | Katastrophenfilm | Weltuntergang <Motiv> | Endzeit <Motiv> | Film | Horrorfilm | USA | 1990-2005| Item type | Current location | Collection | Call number | Status | Date due | Barcode | Item holds |
|---|---|---|---|---|---|---|---|
| 書 | 世新大學圖書館 三樓西文圖書區 | 圖書 | 791.436160973 Th 2007 (Browse shelf) | Available | E116238 |
Includes bibliographical references (p. 175-179) and index.
1. Apocalyptic dread, Kierkegaard, and the cultural landscape of the Millennium -- 2. Cape Fear and Trembling: Familial dread -- 3. Strange fruit: Candyman and Supernatural dread -- 4. Dolores Claiborne: Memorial dread -- 5. Se7en in the Morgue: Dystopian dread -- 6. Signs of the end of the world: Apocalyptic dread -- 7. War of the Worlds: Uncanny dread.
In Apocalyptic Dread, Kirsten Moana Thompson examines how fears and anxieties about the future are reflected in recent American cinema. Through close readings of such films as Cape Fear, Candyman, Dolores Claiborne, Se7en, Signs, and War of the Worlds, Thompson argues that a longstanding American apocalyptic tradition permeates our popular culture, spreading from science-fiction and disaster films into horror, crime, and melodrama. Drawing upon Kierkegaard's notion of dread-that is, a fundamental anxiety and ambivalence about existential choice and the future-Thompson suggests that the apocalyptic dread revealed in these films, and its guiding tropes of violence, retribution, and renewal, also reveal deep-seated anxieties about historical fragmentation and change, anxieties that are in turn displaced onto each film's particular "monster," whether human, demonic, or eschatological.
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