Academic literature on the topic 'Apocalypse Now'

The Christian canon contains only two apocalypses: the Book of Daniel and the Apocalypse of John. Today no less than 19 apocalypses and closely related documents are gathered together in The Old Testament Pseudepigrapha (2 volumes; Garden City, New York, 1983–1985). In light of these apocalypses and apocalyptic writings new possibilities for interpreting the documents in the New Testament can be seen. Only one example can be chosen now; it is a significant one, revealing the indebtedness of the Apocalypse of John to the continuum of Jewish apocalyptic thought and clarifying the roots of Christology in Early Judaism.

The role played by the media in the construction of societal reality is both – determined by discourse and determines discourse. The media can be regarded as a kind of „magnifying glass” that collects information and focuses it for the masses. The reporting of the BILD-Zeitung, a leading figure in mass print media is analysed after the attacks on US-targets on September 11, 2001. The discursive strategy to define terror as war and to prepare the military counter attacks entailing „unlimited German Solidarity” is demonstrated by illumination of the argumentation strategies and collective symbolism.

Abstract This paper explores the ongoing Covid-19 pandemic through the framework of existential risks – a class of extreme risks that threaten the entire future of humanity. In doing so, we tease out three lessons: (1) possible reasons underlying the limits and shortfalls of international law, international institutions and other actors which Covid-19 has revealed, and what they reveal about the resilience or fragility of institutional frameworks in the face of existential risks; (2) using Covid-19 to test and refine our prior ‘Boring Apocalypses’ model for understanding the interplay of hazards, vulnerabilities and exposures in facilitating a particular disaster, or magnifying its effects; and (3) to extrapolate some possible futures for existential risk scholarship and governance.

Baxter Zevcenko is your average 16-year-old-boy. If by average you mean a possible serial killer, the kingpin of a porn-peddling schoolyard syndicate and the only thing standing in the way of full-scale gang warfare between the two powerful gangs which control Westridge High School. Which may well be what counts for average these days.

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The actual research analyzes the translational relations from the movie Apocalypse Now (1979), from Francis Ford Coppola, with its sources, especially the novel The Heart of Darkness (2006), from Joseph Conrad and Dispatches (2005), from Michael Herr. The objective was to investigate how the cinematographic masterpiece was built from the intersemiotic translations of its sources. This research also analyzes the meanings developed by the masterpiece, pointing to convergent and dissonant points with its sources, verifying how the elements transposition (time, space, points of views, conflicts and characters) of literary and journalistic texts for the movie happen to be. The research justifies in the fact that the movie of Coppola does not translate in a sequence the novel narrative of Conrad and the other texts used for the movie industry, but to change concepts and ideas into moving images. Convencionally, this kind of criticism sees the adaptation tasks by certain kind of criteria like accuracy of the movie text in relation to the literary text. It needs to be understood how the translation process happens between sources and adaptation, respecting the specificities of each semiotic system, making the intersemiotic translation a method that can create a new masterpiece and not just a identity copy, from one to another. The movie Apocalypse Now creation process is also the object of this research and will be guided by the Genetics Criticism elements. Interpretations from authors who are considered references on the theme were considered, such as: Robert Stam, Julio Plaza, Sergei Eisenstein, Cecília Salles. In terms of method, scenes, parts and frames from Apocalypse Now were analyzed, starting by the surface thoughts, as Flusser teaches us, opposing to line thoughts, that can be found in literary texts. The movie production entry were also analyzed, like the documentary Hearts of Darkness: A Filmmaker's Apocalypse (1991), with its coulisse, both realyzed by Eleanor Coppola, such as interviews with the diretor, screenwriter and the actors of the movie
A presente pesquisa analisa as relações tradutórias do filme Apocalypse Now (1979), de Francis Ford Coppola, com suas fontes, em especial o romance O Coração das Trevas (2006), de Joseph Conrad e Os Despachos do Front (2005), de Michael Herr. O objetivo foi investigar como se deu a construção da obra cinematográfica a partir da tradução intersemiótica dessas fontes. O trabalho também analisa os sentidos desenvolvidos pela obra cinematográfica, apontando pontos convergentes e divergentes com suas fontes, verificando como se dá a transposição dos elementos (o tempo, o espaço, o ponto de vista, o conflito e os personagens) dos textos literários e jornalísticos para o filme. A pesquisa se fundamenta no fato de o filme de Coppola não traduzir linearmente a narrativa do romance de Conrad e dos outros textos utilizados para o cinema, mas transformar conceitos e ideias em imagens em movimento. Convencionalmente, certa crítica entende os trabalhos de adaptação por meio de critérios como fidelidade do texto fílmico em relação ao texto literário. É preciso compreender como se dá o processo de tradução entre as fontes e a adaptação, respeitando a especificidade de cada sistema semiótico, no caso o literário e o fílmico, sendo o processo de tradução intersemiótica um método de se criar uma obra nova e não apenas uma reprodução de natureza identitária, de um meio no outro. O processo de criação do filme Apocalypse Now também é objeto da pesquisa e será norteado pelos fundamentos da Crítica Genética. Foram consideradas as interpretações de autores que são referência no tema, como: Robert Stam, Julio Plaza, Sergei Eisenstein, Cecília Salles, dentre outros. Metodologicamente, foram analisadas cenas, fragmentos e frames do filme Apocalypse Now à luz do pensamento em superfície, como ensina Flusser, em contraponto ao pensamento em linha, próprio dos textos literários. Também foram avaliadas as notas da produção do filme e o documentário Apocalypse de um Cineasta (1991), com os bastidores do longa, ambos realizados por Eleanor Coppola, bem como entrevistas com o diretor, o roteirista e os atores do filme

ABSTRACT French “Idolators,” British “Heretics,” Native “Heathens”: The Seven Years’ War in North America as a Religious Conflict With France and Great Britain as its primary belligerents, the Seven Years' War was an international conflict with a decidedly religious dimension, one based on the longstanding rivalry between Catholicism and Protestantism. In North America, the conflict galvanized clergymen in both the British and French colonies to frame the war as a religious struggle with potentially apocalyptic consequences. This discourse remains understudied by historians, and efforts to address religion's role in America during the Seven Years' War is usually one-sided, focusing either on the French or British experience. This paper aims to fill this historiographic gap by analyzing both sermons produced by Protestant ministers from across the American colonies and pastoral letters issued by the Catholic Bishop of Quebec between 1755 and 1763. Moreover, this paper argues that both French and British religious leaders viewed the Seven Years' War as an extension of the Catholic-Protestant European religious wars of the previous century, and believed that the conflict's outcome would determine the survival of their respective religions in North America. This paper also describes how Native Americans figured in this discourse, employing a combination of captivity narratives written by Protestant ministers and the reports of Jesuit missionaries to further illustrate the war's perceived apocalyptic significance. ABSTRACT “The English Establishment Is, Itself, of a Beastly Nature”: Catholicizing Great Britain in Pro-War American Discourse During the War of 1812 In order to catalyze support for their cause against the British during the War of 1812, pro-war writers in the United States revived a rhetorical device that had once served their Revolutionary predecessors: the casting of Great Britain as an anti-Protestant and practically Catholic agent. Specifically, these writers were reacting to claims made by certain New England religious and political authorities shortly after the war’s inception that Great Britain was Protestantism’s “bulwark,” and as a result should be viewed as an American ally rather than as an enemy. An examination of pro-war newspaper articles and published sermons ranging in origin from Vermont to Maryland demonstrates how pro-war writers deconstructed Great Britain’s historically accepted role as Protestantism’s defender. It also reveals how this rhetorical strategy intensified in comparison to its brief employment during the Revolutionary period, thanks to the manner in which Napoleonic France was perceived as an effective check against the Papacy. Finally, these sources demonstrate the extent to which pro-war writers employed apocalyptic imagery from the biblical Book of Revelation to bolster their denunciation of Great Britain, which they argued stood alongside the Catholic Church as one of the beasts of the Apocalypse.

O romance The Road (2006) representa um desvio na carreira do escritor norte-americano Cormac McCarthy. Sua prosa concisa e seu cenário apocalíptico marcam um distanciamento tanto de seus primeiros romances (mais próximos do gótico sulista) quanto dos mais recentes (westerns). Acompanhando a jornada de um Pai e um Filho por um país devastado, o autor faz um comentário sobre os Estados Unidos contemporâneo do pós-11 de setembro e da ascensão neoconservadora e fortalecimento do neoliberalismo. Com o intuito de investigar como o livro figura o presente, essa dissertação evidencia elementos de nosso tempo que se materializam na narrativa. Para isso, num primeiro momento, situa a obra do escritor no panorama da literatura americana contemporânea, e o papel de The Road dentro da bibliografia de McCarthy, culminando com a análise do foco narrativo, e o que ele representa. A partir disso, o eixo do trabalho se torna a produção literária do 11 de setembro, e novamente como o romance se destaca dentro desta contrapondo-o a outra obra contemporânea a ele: Falling Man, de Don DeLillo. Por fim, a análise formal da narrativa irá discutir o apocalipse e dialética estabelecida entre ele e a distopia, que são duas forças em duelo no livro. Assim, articulando esse movimento investigamos o papel dos personagens, cenário e tempo. Conforme teoriza Fredric Jameson, vivemos na era do Capitalismo Tardio, também chamada de Pós-Modernidade, e esta se concretiza ao longo do romance, conforme demonstramos nessa análise. A principal base teórica, novamente, é dada por Jameson em seu The Political Unconscious, além de conceitos formulados por Tom Moylan sobre utopia/distopia, e Frank Kermode sobre apocalipse, entre outros.
The novel The Road (2006) represents a detour in the writings of American novelist Cormac McCarthy. Its concise prose and apocalyptic setting signalize a departure both from his early novels (which are closer to the Southern Gothic) than his latest ones (Westerns). By following a Father and Sons journey through a devastated country, the author makes a commentary on contemporary United States of the post-9/11, and the rise of the neocons and the strengthening of neoliberalism. In order to investigate how the book figures the present, this master thesis highlights elements of our time that materialize in the narrative. Thereunto, it starts locating McCarthys work in the contemporary American literature, and The Roads role in his bibliography, culminating in the analysis of the focalization in this novel, and what it represents. Afterwards, the axis of the this work turns to the 9/11 literary production, and once again how the novel stands out in this group opposing The Road to another contemporary book: Don DeLillos Falling Man. Lastly, the formal analysis of the narrative will investigate the apocalypse and the dialectic established between it and dystopia, which are the two forces dueling in the book. Thus, by articulating this movement we investigate the role of the characters, setting and time. As Fredric Jameson theorizes, we live in the age of Late Capitalism, also known as Post-Modernity, and this appears throughout the novel, as we will demonstrate in the present work. The main theoretical foundation of this thesis is, again, given by Jameson in his The Political Unconscious, in addition to concepts formulated by Tom Moylan on utopia/dystopia, and Frank Kermonde on apocalypse, among others.

Um dos filmes de guerra mais cultuados da contemporaneidade, Apocalypse Now apresenta fragmentos da representação da realidade jornalística dentro de sua narrativa cinematográfica. São analogias do livro Despachos do Front, de Michael Herr, livro-reportagem concebido durante o fenômeno do New Journalism, que serviu de apoio ao processo de contextualização da obra-prima de Coppola. A intenção deste trabalho é, pois, analisar a película buscando encontrar nestas analogias elementos textuais da ekphrasis e da fanopeia. Neste processo, no qual a narrativa jornalístico-literária se imbrica na narrativa cinematográfica, a não ficção e a sua representação da realidade surge de modo intermitente em meio à obra ficcional, em um processo conotativo carregado de significações imagéticas, concebidas a partir do poder do texto jornalístico-literário.
One of the most revered films of war, Apocalypse Now presents fragments of journalistic representation of reality within a narrative film. They are analogies of the book Dispatches, by Michael Herr, book from the New Journalism phenomenon, which served to support the contextualization of Coppola's masterpiece process. The intention of this paper is therefore analise the film seeking to find in these analogies textual elements of ekphrasis and fanopeia. In this process, in which the literary journalism narrative is enmeshed in film narrative, non fiction and representation of reality arises intermittently through the fictional work, in a process fraught with imagetic connotative meanings, designed from the power of text of literary journalism.

Uno studio filologico condotto sulle tre edizioni di Apocalypse Now di Francis Ford Coppola e delle rispettive varianti, e di come esse influiscano sul messaggio filmico partendo dalla letteratura di riferimento.

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A presente dissertação aborda as relações intersemióticas entre a novela O Coração das Trevas (1899) e o filme Apocalypse Now (1979), dando ênfase à (re)leitura e tradução do horror operada no processo de adaptação. Seguindo algumas das teorias pós-estruturalistas, concebemos a prática da tradução como uma operação de leitura. Ao identificarmos as leituras conflituosas da obra de Joseph Conrad, que se inscreveram na pós-modernidade, principalmente com a emergência da crítica pós-colonial, buscamos compreender qual das perspectivas de leitura em conflito foi adotada por Francis Ford Coppola na composição do projeto fílmico de Apocalypse Now. Discutimos teoricamente a tradução intersemiótica enquanto leitura e como tomada de posição nesse embate de significações que emergiu de algumas décadas para cá em relação à novela em questão. Seguindo as novas abordagens no campo de estudos da adaptação de obras literárias para o cinema, nos debruçamos sobre aspectos históricos, sociais e discursivos que permitiram a reconfiguração da novela conradiana para o contexto da guerra do Vietnã, e como a obra fílmica buscou instaurar o efeito crítico instaurado por O Coração das Trevas no que concerne às diferentes formas de imperialismo (belga, inglês e, no caso do filme, norte-americano). Para a análise do horror em O Coração das Trevas e Apocalypse Now, buscamos mapear as principais definições do horror, analisar tanto os esforços críticos que buscaram posicioná-lo num horizonte teórico quanto a apropriação feita pela crítica literária, cinematográfica e psicanalítica dos textos que o evocam. Foi possível identificar como a noção de horror foi sendo historicamente reconfigurada, passando a ser concebida, sobretudo pela crítica literária e cinematográfica, enquanto um elemento atrelado às narrativas que buscam despertar em seus leitores/espectadores sensações que remetem ao medo. O fechamento dessa noção, promovido pelos estudos literários e cinematográficos, nos permitiu buscar caminhos teóricos que possibilitassem o desdobramento de seus sentidos, a compreensão de suas dinâmicas e a construção de novas possibilidades de interpretação das suas manifestações na literatura e no cinema. Por fim, analisamos o horror em ambas as obras literária e fílmica, de modo a compreender quais elementos narrativos estão relacionados a esse horror, bem como as convergências e divergências, tanto de sentidos como das relações narrativas, que se inscrevem no processo de releitura. Identificamos que em O Coração das Trevas o horror está associado ao nativo, à terra e ao imperialismo e que pertence à seara da experiência do homem branco nos trópicos, ou seja, nos lugares distantes de sua civilização. Em Apocalypse Now, o mesmo se relaciona à terra, à loucura e a guerra. Apesar de alguns deslocamentos no que concerne ao que o horror está atrelado, na novela e no filme, a experiência nos trópicos demonstra que o espaço colonial e o espaço do conflito são os lugares primordiais nos quais o horror se manifesta. Para além das ambivalências de sentido que se configuram na análise do horror em O Coração das Trevas e Apocalypse Now, discutimos como esse horror pode funcionar, para seus leitores/espectadores, como um elemento que os permita questionar experiências históricas e discursos de algumas potências ocidentais que promoveram ações de pilhagem e extermínio em espaços além de suas fronteiras.
This thesis approaches the intersemiotic relations between the novel Heart of Darkness (1899) and the film Apocalypse Now (1979), emphasizing the (re)reading and translation of horror operated in the adaptation process. Following some poststructuralists theories, we understand the practice of translation as a reading operation. By identifying the readings in conflict of Joseph Conrad’s work, which emerged in postmodernity, especially with the emergence of the postcolonial criticism, we aimed at understanding which perspectives of reading in conflict was adopted by Francis Ford Coppola in the composition of his film Apocalypse Now. We aim at discussing theoretically the intersemiotic translation as reading and as a position in this signifying battle which emerged, from some decades on, in relation to the novel in question. Following some new approaches on the field of adaptation studies of literary works to film, we aimed at studying the historical, social and discursive aspects which allowed the reconfiguration of Conrad’s novel to the context of the Vietnam war, and how the film aimed at establishing the critical effect of Heart of Darkness concerning the different forms of imperialism (Belgian, English and, in the case of the film, North American). To analyze the horror in Heart of Darkness, we maped the main definitions of horror, analyzing both the critical efforts to position it in a theoretical horizon and the appropriation of texts which evoke it by literary, cinematographic and psychoanalist criticism. It was possible to idenfity how the notion of horror has been historically set, starting to be understood, mostly by literary and cinematographic criticism, as an element linked to narratives which aim at arousing in their readers/audiences sensations that refer to fear. The immobilization of this notion, promoted by the literary and cinematographic studies, allowed us to search for theoretical paths that enabled the outspread of the senses of horror, the comprehension of its dynamics and the construction of new possibilities of interpreting its manifestations both in literature and cinema. Lastly, we analyzed the horror in the novel and the film to understand which narrative elements are related to this horror, as well as convergences and divergences, both in senses and in narrative relations, present in the (re)reading process. We identified that horror in Heart of Darkness is associated with the native, the land and the imperialism and that it has to do with the experience of white men in the tropics, that is, places which are far from their civilization. In Apocalypse Now, the horror is related to the land, the madness and the war. In spite of some shifts concerning what horror is related to, both in novel and film, the experience in the tropics shows that the colonial space and the conflict space are the primordial places where the horror manifests itself. In addition to the ambivalence of meaning that are present in the analysis of horror in Heart of Darkness and Apocalypse Now, we discussed how this horror can function, to their readers/audiences, as an element that allows the questioning of historical experiences and discourses of some Western powers that promoted actions of loot and extermination in the spaces beyond their boundaries.

I denna uppsats har filmljudet i krigsfilmerna Apocalypse Now och Saving Private Ryan undersökts. Detta har gjorts för att försöka bidra med ökad förståelse för filmljudets användningsområde och funktioner, främst för filmerna i fråga, men även för krigsfilm rent generellt. Filmljud i denna kontext omfattar allt det ljud som finns i film, men utesluter dock all ickediegetisk musik. Båda filmerna har undersökts genom en audio-visuell analys. En sådan analys görs genom att detaljgranska båda filmernas ljud- och bildinnehåll var för sig, för att slutligen undersöka samma filmsekvens som helhet då ljudet och bilden satts ihop igen. Den audio-visuella analysmetod som nyttjats i uppsatsen är Michel Chions metod, Masking. De 30 minuter film som analyserades placerades sedan i olika filmljudzoner, där respektive filmljudzons ljudinnehåll bland annat visade vilka främsta huvudfunktioner somfilmljudet hade i dessa filmer. Dessa funktioner är till för att bibehålla åskådarens fokus och intresse, att skapa närhet till rollkaraktärerna, samt att tillföra en hög känsla av realism och närvaro. Intentionerna med filmljudet verkade vara att flytta åskådaren in i filmens verklighet, att låta åskådaren bli ett med filmen. Att återspegla denna känsla av realism, närvaro, fokus samt intresse, visade sig också vara de intentioner som funnits redan i de båda filmernas förproduktionsstadier. Detta bevisar att de lyckats åstadkomma det de eftersträvat. Men om filmljudet använts på samma sätt eller innehar samma funktioner i krigsfilm rent genrellt går inte att säga.I have for this bachelor’s thesis examined the movie sound of the classic warfare movies Apocalypse Now and Saving Private Ryan. This is an attempt to contribute to a more profound comprehension of the appliance and importance of movie sound. In this context movie sound implies all kinds of sounds within the movies, accept from non-diegetic music. These two movies have been examined by an audio-visual analysis. It's done by auditing the sound and picture content separately, and then combined to audit the same sequence as a whole. Michel Chion, which is the founder of this analysis, calls this method Masking. The sound in this 30 minute sequence was then divided into different zones, where every zone represented a certain main function. These functions are provided to create a stronger connection to the characters, sustain the viewers interest and bring a sense of realism and presence. It seems though the intention with the movies sound is to bring the viewers to the scene in hand, and let it become their reality. To mirror this sense of realism, presence, focus and interest, proves to be the intention from an early stage of the production. This bachelor’s thesis demonstrates a success in their endeavours. Although it can’t confirm whether the movie sound have been utilized in the same manner or if they posess the same functions to warefare movies in general.

Feelings of hopelessness and meaninglessness have become hallmarks of American society. As a filmmaker and film educator it is clear I share a responsibility to address these defining issues. Using some of the ideas of Zygmunt Bauman, Jacques Derrida, Neil Evernden, Claude Levi-Strauss, Bill Nichols, Nell Noddings, José Ortega y Gasset, Edward Said, and Erwin Straus, I observe this problem to be a result of dispassionate humanism-a machineworld story considered appropriate in the current social construction. From this critical perspective, I then analyze Aldo Leopold's The Land Ethic and the Disney/Pixar film WALL-E. The former I show to be written in such a way as to leave its audience confused. The latter I demonstrate fosters unnecessary and immoral assumptions about the "imminent" collapse of our civilization. In conclusion, I make clear that it is how we relate to our current existence that is important. While the power of our ideas is truly humankind's greatest creation, that power is naught outside of time and the realities of our being Earth-bound. What we must learn to value in America alongside the power of ideas, are the responsibilities inherent in simply being.

The crisis at the turn of the 19th and 20th centuries affected different countries and different aspects of social life, which was inevitable both due to geographical proximity and cultural, economic, political and other intersections. Addressing the topic of the sociocultural crisis was characteristic of both Russian and Western European philosophers of the early 20th century. The author in the article refers to the understanding of its features and ways to overcome it in the context of the ideas of Russian religious philosophers. An integral feature of Russian philosophical thought in the context of assessing the ongoing social changes and the search for ways out of a crisis situation is an understanding of the special purpose of Russia and an awareness of its role in human history. The works of Russian philosophers are full of anxiety about the future of mankind, about the fate of Russia, a premonition of possible death, therefore it is no coincidence that the appeal to the theme of the Apocalypse, the impending catastrophe, the end of history is perceived as a real threat to the existence of mankind. With all the diversity of approaches to assessing the sociocultural crisis, Russian thinkers are united by common philosophical roots, religion, national and cultural traditions. In the context of understanding the crisis processes of the early twentieth century, Russian religious thinkers raise the question of the role and significance of a person in the transformation of life, thereby actualizing the moral and anthropological problems.

Modern automobiles collect around 25 gigabytes of data per hour and autonomous vehicles are expected to generate more than 100 times that number. In comparison, the Apollo Guidance Computer assisting in the moon launches had only a 32-kilobtye hard disk. Without question, the breadth of in-vehicle data has opened new possibilities and challenges. The potential for accessing this data has led many entrepreneurs to claim that data is more valuable than even the vehicle itself. These intrepid data-miners seek to explore business opportunities in predictive maintenance, pay-as-you-drive features, and infrastructure services. Yet, the use of data comes with inherent challenges: accessibility, ownership, security, and privacy. Unsettled Legal Issues Facing Data in Autonomous, Connected, Electric, and Shared Vehicles examines some of the pressing questions on the minds of both industry and consumers. Who owns the data and how can it be used? What are the regulatory regimes that impact vehicular data use? Is the US close to harmonizing with other nations in the automotive data privacy? And will the risks of hackers lead to the “zombie car apocalypse” or to another avenue for ransomware? This report explores a number of these legal challenges and the unsettled aspects that arise in the world of automotive data