"Each Night Is Darker-Beyond Darkness": The Environmental and Spiritual Apocalypse of<i>The Road</i>(2009)

McSweeney, Terence

doi:10.5406/jfilmvideo.65.4.0042

Cited by 39 publications

(2 citation statements)

References 5 publications

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“…In a book that predates TDAT , Dixon reviews previous ‘spectacles of destruction in American cinema,’ demonstrating the centrality and vitality of the apocalyptic genre in American popular culture. McSweeney places the bleak film version of The Road within that tradition. More broadly, Swyngedouw argues that these end‐of‐the‐world depictions of climate change reflect the limited and debilitated state of contemporary politics.…”

Section: Critical Literature On Cli‐fi Filmsmentioning

confidence: 99%

Cli‐fi on the screen(s): patterns in the representations of climate change in fictional films

Svoboda

2015

WIREs Climate Change

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Fictional works about climate change, or cli‐fi, have been hailed as a new genre. As a complement to previous WIREs studies of novels and plays, this article focuses on cli‐fi films, providing an overview of some 60 films, including major theatrical releases, smaller festival films, and made‐for‐TV movies. Of the many possible impacts of climate change predicted by scientists, this study finds that filmmakers have focused on extreme weather events and the possibility of Earth slipping into a new ice age. These choices reflect filmmakers’ predispositions more than any scientific consensus and thus demonstrate the challenge that cli‐fi films pose to climate change communicators. Finally, noting the recent emergence of films that parody concerns about climate change or that depict attempts to mitigate its causes or ameliorate its effects as possibly more disastrous than climate change itself, this study recommends that researchers in the humanities and social sciences look beyond The Day After Tomorrow, which has received far more attention than any other film. WIREs Clim Change 2016, 7:43–64. doi: 10.1002/wcc.381 This article is categorized under: Trans‐Disciplinary Perspectives > Humanities and the Creative Arts

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Section: Critical Literature On Cli‐fi Filmsmentioning

confidence: 99%

Cli‐fi on the screen(s): patterns in the representations of climate change in fictional films

Svoboda

2015

WIREs Climate Change

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“…For some recent examples, see Gaard et al . (2013), McSweeney (2013), Murphy (2018), Soles (2014) and Wright (2015).…”

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confidence: 99%

‘Shrieking soldiers … wiping clean the earth’: hearing apocalyptic environmentalism in the music of Botanist

Lucas¹

2019

Pop. Mus.

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This article presents a case study of ecocritical black metal, delving into the apocalypticism of the California-based black metal band Botanist, who conjures a world in which plants have violently destroyed human civilisation. It first contextualises Botanist amidst the broader current of environmentalism in extreme metal as well as within wider cultural explorations of plants as subjective beings capable of violence. The article then examines how Botanist taps into the logic of apocalyptic environmentalism, as the music presents the essential narrative of apocalyptic bioterrorism: humanity, with wanton hubris, has sown the seeds of its own destruction, and earned whatever horrors befall it on the way to elimination. With its bleak outlook and strident sound world, Botanist's music threatens to destabilise listeners’ assumptions about their place in the world and offers an example of what apocalyptic ecological urgency in music could sound like.

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Cormac McCarthy in Context

2019

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"Each Night Is Darker-Beyond Darkness": The Environmental and Spiritual Apocalypse ofThe Road(2009)

Cited by 39 publications

References 5 publications

Cli‐fi on the screen(s): patterns in the representations of climate change in fictional films

Cli‐fi on the screen(s): patterns in the representations of climate change in fictional films

‘Shrieking soldiers … wiping clean the earth’: hearing apocalyptic environmentalism in the music of Botanist

Cormac McCarthy in Context

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