Uncertainty, dissociation and human condition: The narratives of twentieth century apocalyptic and post-apocalyptic filmography
Incertidumbre, disgregación y condición humana: Los relatos de la filmografía apocalíptica y posapocalíptica del siglo XXI
Incerteza, desintegração e condição humana: Nas histórias da filmografia apocalíptica e pós-apocalíptica do século XXI
| 2021 | |
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post-apocalyptic filmography collapse uncertainty dissociation human condition filmografía posapocalíptica colapso incertidumbre disgregación condición humana filmografia pós-apocalíptica esgotamento incerteza condição humana |
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| Español | |
| Universidad ORT Uruguay | |
| RAD | |
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https://revistas.ort.edu.uy/inmediaciones-de-la-comunicacion/article/view/3099
http://hdl.handle.net/20.500.11968/4304 |
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| Acceso abierto | |
| http://creativecommons.org/licenses/by/4.0 |
| Sumario: | The article explores the narratives of the apocalyptic and post-apocalyptic filmography, especially those productions in which the potential destruction of the world does not result from events of nature or alien invasions (exogenous occurrences to the evils of contemporary society); rather, it has a more obscure origin: the end of times is a phenomenon that comes from humanity itself. In this respect, the expiatory purpose of the apocalypse is abandoned along with the battle between good and evil.The article reviews the twentieth century works that caution against the self-destructive aspect in humanity, and focuses on this century films and television shows dramatizing the collapse of the world as we know it as well as the survivors’ ways of life in the aftermath. Unlike the last century representations, this approach to the end of the world reveals dismay and bewilderment when facing the problems of our time, and portrays a future of dissociation with few chances of achieving some collective regeneration, a future where human beings become lonely wanderers that are unable to develop social ties but are obstinately trying to find the best of their human condition. |
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