By Charles P. Mitchell
This exam and finished review of apocalyptic movie stories fifty movies that illustrate the diversity, diversity and assorted 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 short evaluate identifies seven significant different types of apocalyptic movies: the non secular or supernatural, celestial collision, sunlight or orbital disruption, nuclear conflict and radioactive fallout, germ conflict or pestilence, alien gadget or invasion, and clinical miscalculation. Alphabetically prepared entries expense 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 relish the assessment and specified research of the flicks. Appendices supply extra examples of apocalyptic video clips excluded from the most textual content, a sampling of post-apocalyptic cinema that's unique from the apocalyptic style and examples of apocalyptic tv. Illustrations are incorporated.
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Extra resources for A Guide to Apocalyptic Cinema
Keaton worked strictly for laughs, but his work came from so far inside a curious and original spirit that he achieved a great deal besides, especially in his feature-length comedies. ) He was the only major comedian who kept sentiment almost entirely out of his work, and he brought pure physical comedy to its greatest heights. Beneath his lack of emotion he was also uninsistently sardonic; deep below that, giving a disturbing tension and grandeur to the foolishness, for tliose who sensed it, there was in his comedy a freezing whisper not of pathos but of melan cholia.
Besides occasional bits, spots and minor roles in Hollywood pictures, he has worked on summer stages, made talking comedies in France and Mexico and 30 AGEE ON FILM: REVIEWS AND COMMENTS downed in a French circus. This summer he has played the straw hats in Three Men on a Horse. He is planning a television program. He also has a working agreement with Metro. One of his jobs there is to construct comedy sequences for Red Skelton. The only man who really survived the flood was Chaplin, the only one who was rich, proud and popular enough to afford to stay silent.
He looks like a daguerreotype, not an impersonation. He bears himself like a man of i860, not like a studious actor in a costume picture. He talks like a half-crazy devil. He supplies, in fact, the two primal requirements of the camera, in whose neglect or dilution you might better not use a camera at all: living—rather than imitative—visual, aural, and psychological authenticity, and the paralyzing electric energy of the present tense as against the rest of the show's glossy, comfortably researched reenactment at eight)^ years' remove.
A Guide to Apocalyptic Cinema by Charles P. Mitchell