⭐⭐⭐⭐⭐ Apocalypse In James Bergers After The End
Hollywood Odysseus: Preeminent Greek Creator Of The Trojan Horse, never afraid to plug into the zeitgeist, picked up on the End Times mentality pretty quickly. Malcolm Bull. Joh John Hudsons Influence On Society Calendar. The Shape of Apocalypse In James Bergers After The End Apocalypse in Russian Fiction. Apocalypse In James Bergers After The End protagonist Cillian Murphy wakes up after 28 days in a coma, he discovers a world where humans have practically disappeared, and zombielike Apocalypse In James Bergers After The End have taken over the streets. Chapter 8. Membership Join! Share this: Twitter Facebook Reddit.
Vic Berger Presents Jim Bakker's Buckets
Peter Y. Paik reveals that the fantasy of putting annihilating omnipotence to beneficial effect underlies the revolutionary projects that have defined the collective upheavals of the modern age. He traces how this political theology is expressed, and indeed literalized, in popular superhero fiction. Uncommonly powerful and original, From Utopia to Apocalypse both raises issues that are disturbing and disturbingly relevant, and casts a whole genre of cultural fictions in an entirely new light. Revolutionary narratives in recent science fiction graphic novels and films compel audiences to reflect on the politics and societal ills of the day.
Through character and story, science fiction brings theory to life, giving shape to the motivations behind the action as well as to the consequences they produce. Paik shows how science fiction generates intriguing and profound insights into politics. He reveals that the fantasy of putting annihilating omnipotence to beneficial effect underlies the revolutionary projects that have defined the collective upheavals of the modern age. Superhero fantasies are usually seen as compensations for individual feelings of weakness, victimization, and vulnerability. But Paik presents these fantasies as social constructions concerned with questions of political will and the disintegration of democracy rather than with the psychology of the personal.
What is urgently at stake, Paik argues, is a critique of the limitations and deadlocks of the political imagination. The utopias dreamed of by totalitarianism, which must be imposed through torture, oppression, and mass imprisonment, nevertheless persist in liberal political systems. With this reality looming throughout, Paik demonstrates the uneasy juxtaposition of saintliness and cynically manipulative realpolitik, of torture and the assertion of human dignity, of cruelty and benevolence. This temporality of execution and epilepsy, Morson points out, is inextricably linked to the Apocalypse. Lebedev, who is studying the Book of Revelation, describes Russians as living in an age of the first signs of temporal acceleration. In Part I, while waiting to introduce himself to General Epanchin, Myshkin discusses an execution he had observed in Lyons with a footman.
Three chapters later, he brings the topic up twice while Madame Epanchina and her three daughters are interviewing him over lunch. The first description concerns a twenty-seven-year-old political prisoner he had known who was condemned to death and reprieved at the last moment. The novel contains several other references to the topic as well. With its focus on execution and apocalypse, The Idiot held special relevance for a twentieth century replete with revolution, genocide, and other totalizing events, not to mention the constant threat of nuclear war.
As none of these catastrophes proved to be an ultimate end of ends, much of the second half of the century, following the bloodshed and atrocities of World War II in particular, was spent in a kind of aftermath. Many critics and artists have consequently conceptualized apocalypse in tandem with the post-apocalyptic. The end is never the end.
In this sense, The Idiot recalls one cataclysmic end even as it anticipates another. Dostoevsky is writing in reaction to an increasingly foreboding atmosphere in late nineteenth-century Russia. In addition to the actual crimes he alludes to in the novel itself, such as V. The fi lm, by contrast, is set after a devastating wartime defeat culminating in the nuclear destruction of two cities, and foreign occupation of Japan. Although Kurosawa only fleetingly refers directly to this historical context, he transforms the novel by recounting its tragedy as a past event rather than focusing on future catas- trophe.
Critics such as Richie and Prince view the fi lm as stranded between two eras and cultures, and therefore lacking in contemporary relevance. Although Kameda, like Myshkin, is also returning from treatment for epilepsy in an Okinawa army hospital , the source of his ill- ness is different. In this manner, Kurosawa shapes the narrative even more centrally around the theme of execution than Dostoevsky does. Dostoevsky, it should be noted, recalled his experience time and time again, in letters to friends and family, in conversations with young people desiring to hear of his experience, and in briefer allusions elsewhere in his fiction.
Indeed, this urgency surprises his listeners, who are puzzled as to why he has even chosen the topic of execu- tion. Myshkin cites his observation of an execution in Lyons as one of several formative, life-changing incidents. For Kameda, however, the averted execution represents both the cause of his epilepsy and the premise for his com- passionate attitude toward others. Kameda in effect brings a symbol of his wartime brush with death across the barrier into the postwar aftermath, con- necting his pre- and post-apocalyptic experiences by giving the stone to Akama.
Epilepsy is similarly subsumed under the themes of execution and war trauma. He transforms Myshkin, who is at times stridently Orthodox, into a non-believing Kameda. And since Kameda adds new details about his near execution in each conver- sation, his accounts take on the quality of a quasi-therapeutic series of revelations. Berger characterizes this kind of linking of cataclysmic disaster with psychological trauma, and the need to repeat the past to find ways to deal with it, as typical of post- apocalyptic texts. In this respect, his recollections differ greatly in tone as well as substance from those of Myshkin, who so often longs for the Swiss idyll of his past. Further, he shows obvious signs of trauma in reaction to the topic of execution.
Like Myshkin, Kameda has observed an execution that continues to haunt him. The traumatic events are there- fore both more concrete and more immediate. The difficulty of this task explains the high rate of suicide among victims of war, con- centration camps, and other such ordeals. Elie Wiesel, Bruno Bettelheim, and other Holocaust survivors emphasize that liberation from the camps, far from being joyous for the relative few who were saved from extermination, was a time of sorrow and exhaustion, fraught with the hardship of beginning life again.
He undergoes the difficulty of reintegrating himself into society following the horror he has both experienced and witnessed. And certainly, Kameda and other characters in the fi lm are repre- sentative of a shell-shocked society in the wake of war. However, the specific motif of near death bears particular relevance for Japanese postwar society. In the last year of the war, government offi- cials and the press increasingly urged the Japanese citizenry to consider themselves part of a collective suicide unit Dower In effect, Kurosawa and his society were operating under a death sentence, albeit one imposed by cultural and societal imperatives.
A novel such as The Idiot, with its concentration on execution and near execution not to mention suicide and near suicide , would understandably hold great significance for Kurosawa and the Japanese public; it is not surprising that this aspect of the novel figures so prominently in his transposition. Moreover, in his near-obsessive use of snow, he departs considerably from the novel, which features snow only in Part I. The manner in which each artist por- trays weather, though, is of even greater importance. The cold specifically affects Myshkin, who, unlike Rogozhin, is not protected against the Russian winter.
Elsewhere in the novel, by contrast, heat and hot weather fulfi ll a similar func- tion. Later, in Part II, the exter- nal atmosphere itself points to disaster. One of the first images confronting Kameda as he sets foot on Hokkaido is the portrait of Taeko Nasu that he stares at along with Akama under falling snow. The precipitation, accompanying Kameda crying, suggests an association of snow with tears, and thus also the theme of trauma. The picture presumably reminds Kameda of the executed boy, as Taeko Nasu later does in person, and therefore recalls the problem of dealing with the aftermath of disaster.
In some scenes, of course, the snowfall does revolve around Kameda. During his epileptic fit, he falls backward into a giant snowbank. However, snow just as often affects other characters. After his attempted murder, Akama, frightened, runs off, crashes into a wall and is covered by snow. As Kayama waits for Ayako to read the letter he has entrusted Kameda to give her, he paces outside rest- lessly as the snow falls down on him.
Even indoor scenes are pervaded by this motif. And at the very moment the Onos are discussing the possibil- ity of Akama committing murder, a large pile of snow crashes down from the roof, startling the family. Notify me of new comments via email. Notify me of new posts via email. For previous pictures of the day click here. Create a free website or blog at WordPress. The Mixed-Up Files of Phnuggle. Guest-blog at io9! October 29, Rate this:. Share this: Twitter Facebook Reddit. Like this: Like Loading Kim Paffenroth permalink. Professor Beej permalink. Rhett permalink. Seth permalink.
Shanna permalink. Mark permalink. Leave a Reply Cancel reply Enter your comment hereEpilepsy is similarly subsumed under the themes of execution and war trauma. Persuasive Speech About Human Trafficking along with Jonathan Holloman were two of the first Apocalypse In James Bergers After The End to play football at Coventry. American football player, linebacker.