By Marcin Mazurek
Achieving into the depths of the collective subconscious, a feeling of Apocalypse explores and re-interprets one of many West’s primordial fears, specifically that of the apocalyptic closure of either cultural praxis and person adventure. but, unlike renowned connotations of the time period, apocalypse is considered right here when it comes to a transitional narrative finding the topic on the intersection of technological determinism, pop-cultural mind's eye, postmodern urbanism and electronic textuality. these kind of shape the parts of a brand new post-apocalyptic panorama, which not just produces a brand new id trained by means of dissolving post-Enlightenment paradigms, but in addition inspires tricks at a lot of existential chances caused through late-capitalist applied sciences and their cultural outcomes.
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Additional resources for A Sense of Apocalypse: Technology, Textuality, Identity (Literary and Cultural Theory)
The popular representations of the end, whose proliferation coincided with the recent fin de millennium, often draw from the deep strata of literary and discursive motifs. Though frequently restricting the apocalyptic stimulus to a single religious prediction, such films as The Sixth Day (2000) or The End of Days (1999) 18 at least 15. Jacques Derrida, Specters of Marx, the State of the Debt, the Work of Mourning, & the New International, trans. Peggy Kamuf (New York: Routledge, 1994), 9. Emphasis Derrida’s.
The main concern is now the level of individual reaction to the apocalyptic event, whether metaphorical or literal, and its influence upon the construction of post-apocalyptic identity. Such departure from threat-based works in favour of the notion of apocalypse understood metaphorically brings a major methodological advantage. Not only does it open up a new discursive field but it also helps visualise and problematise a number of issues so far dealt with by the academic discourse only. Baudrillard’s claims concerning the end of historical continuity and the reversal of history taking “a turn in the opposite direction” 19 as a result of which “[e]ach apparent movement of history brings us imperceptibly closer […] to its starting point” 20 are subtly reflected by Blade Runner’s visual topography where futuristic machines are accompanied by 1950s Cadillacs, shuttle pilots’ helmets are made of worn-out leather and the latest fashion is often indistinguishable from that of the 1930s.
13. The Biblical association is by no means coincidental; the film opens with a quotation from St. Mark, Chapter 13, reading: “No flesh shall be spared” (13:20) 14 immediately placing the film’s post-holocaust imagery within the eschatological framework. The fragment is evoked again, when Moses, one of the main characters, realises that that the project’s codename contains an implicit biblical reference: “See these mighty buildings, all shall be thrown down, shattered, splintered, split. The Earth will shake, rattle and roll, the masses will go hungry, their bellies bloat.
A Sense of Apocalypse: Technology, Textuality, Identity (Literary and Cultural Theory) by Marcin Mazurek