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Academic literature on the topic 'Post-apocalyptic films'

Author: Grafiati

Published: 5 June 2025

Last updated: 2 August 2025

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Journal articles on the topic "Post-apocalyptic films"

Stefanopoulou, Evdokia. "The rhetoric of ecology in the post-apocalyptic cinematic landscape." "Res Rhetorica" 8, no. 2 (2021): 38–54. http://dx.doi.org/10.29107/rr2021.2.3.

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Contemporary post-apocalyptic films portray a world ravaged by ecological catastrophes, and humanity on the brink of extinction. Such films echo the urgent environmental discourses of the Anthropocene, while offering instances of a post-anthropocentric perspective and the new subject-formations it engenders. The article argues that the central rhetorical device that generates an ecocritical perspective in such films is the post-apocalyptic landscape. Cinematic space shapes the meaning of all films, and this is even more emphatic when setting is transformed into landscape (Lefebvre 2006). What

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Salman, Mohammed Atta, Umniyah Mohammed Jasim, and Bashar Jadah Farhan. "Are You Going to New Eden or Staying to Fix It? An Analysis of Stake Land and I Am Legend." Journal of Lifestyle and SDGs Review 5, no. 3 (2025): e05412. https://doi.org/10.47172/2965-730x.sdgsreview.v5.n03.pe05412.

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The objective: This study aims to shed light on a post-apocalyptic study of (I Am Legend and Stake Land), Which draws the reader's attention greatly, taking into account the literature of the end of world. While Dr. Robert Neville (Will Smith) faces the fierce post-apocalyptic world in I Am Legend (2007) and desperately endeavors to find a solution for the problem that caused the world to collapse, Mister, on the other hand, (Nick Damici) sets out on a journey to reach New Eden in Stake Land (2010). Theoretical Framework: The present article is a contrastive analysis of the ideological doctrin

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Baek, Hae-lin. "The Politics of Space in Post-Apocalyptic Films." Academic Association of Global Cultural Contents 61 (November 30, 2024): 137–51. https://doi.org/10.32611/jgcc.2024.11.61.137.

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Post-apocalypse describes a human society that has become lawless due to the collapse of the social system destroyed after the destruction, and examines various elements of modern society such as human nature, desire, social system, and power. Recently, Korean post-apocalyptic content has gained public sympathy by depicting political and social anxiety that has long dominated Korean society, such as class inequality, corrupt power, and moral dilemmas. This study analyzed the space in Korean post-apocalyptic content based on Henri Lefebvre's spatial theory. As a result, it was confirmed that th

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Christopher, David. "Early Cronenberg and the Anarchist-Apocalypse." Anarchist Studies 32, no. 1 (2024): 12–42. http://dx.doi.org/10.3898/as.32.1.01.

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The anarchistic and apocalyptic vein in Canadian cinema, and even in the larger context of Canadian art in general, takes a particular turn with the films of David Cronenberg. Such early Cronenberg films as Shivers (1975) and Rabid (1977) betray an almost prurient desire for the destruction of bourgeois social harmony and the annihilation of patriarchal social relations in the context of apocalypse. Even Cronenberg's earliest experimental films such as Stereo (1969) and Crimes of the Future (1970) make use of post-apocalyptic settings in building towards his more explicitly apocalyptic early c

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Rajendran, Saranya, and Evangeline Priscilla Baghavandoss. "Rising Notability of Post Apocalyptic Narratives in Topical Hollywood Movies." Journal of Law and Sustainable Development 11, no. 12 (2023): e1536. http://dx.doi.org/10.55908/sdgs.v11i12.1536.

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Objective: The following research, mapping the survival elements with reference to the survive of the characters in the identified adapted films through the lens of the post-apocalyptic genre. Method: The researcher has identified 17 films that suit the criteria for selection and study. According to the Darwin’s theory, it provides new insight into the role of Hollywood films in dealing with catastrophes, Darwinian concepts of survival of the fittest and rebuilding of civilization. Evolved properties of human survival behavior are also focused. Result: The research offers scope for wide respon

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Rajendran, Saranya, and Evangeline Priscilla Baghavandoss. "Rising Notability of Post Apocalyptic Narratives in Topical Hollywood Movies." Revista de Gestão Social e Ambiental 18, no. 1 (2024): e04947. http://dx.doi.org/10.24857/rgsa.v18n1-092.

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Objective: The following research, mapping the survival elements with reference to the survive of the characters in the identified adapted films through the lens of the post-apocalyptic genre.  Method: The researcher has identified 17 films that suit the criteria for selection and study. According to the Darwin’s theory, it provides new insight into the role of Hollywood films in dealing with catastrophes, Darwinian concepts of survival of the fittest and rebuilding of civilization. Evolved properties of human survival behavior are also focused.  Result: The research of

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Muwaffaq, Thafhan, Nurul Komar, and Rio Armandaru. "APOCALYPTIC NARRATIVE SCHEMAS IN DYSTOPIAN FILMS." International Journal of Humanity Studies (IJHS) 3, no. 2 (2020): 211–27. http://dx.doi.org/10.24071/ijhs.v3i2.2168.

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This research investigates the way dystopia as film genre is attributed with catastrophe or, what will be regarded here as apocalyptic events. We question the way in which the genre represents state of affairs of humanity in the face of catastrophe, in catastrophe, and after catastrophe. We conducted a narrative analysis under the account of semiotic cognitive approach, by identifying narrated events, and actions of the protagonist as constituting parts of event. We argue that narrative in dystopian films represent three types of apocalyptic schema (i.e. pre-apocalyptic, apocalyptic, and post-

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Yaren, Özgür. "Post-Human Aesthetics of Apocalypse." AM Journal of Art and Media Studies, no. 19 (September 15, 2019): 77. http://dx.doi.org/10.25038/am.v0i19.309.

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This paper aims to illustrate the transformation of point of view in apocalyptic/dystopian genre films, abandoning the lamenting tone in favor of other species. It also intends to exhibit the aesthetic strategies conforming to the shifting tone of these genre films towards a post-human stance. It can be argued that the conjuncture which is shaped by several coinciding narratives of crisis from the Anthropocene to the more recent political crisis of rising Populism led Posthumanist discourse gain prevalence. The paper will try to link the shifting tone of genre films with the lineages of Posthu

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Koncz, Linda, and Alex Villas Boas. "Climate Migration in Post-Apocalyptic Narratives on the Mainstream Screen." Religions 15, no. 2 (2024): 231. http://dx.doi.org/10.3390/rel15020231.

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Through the perspective of ‘catastrophising thought’, this work undertakes a comparative analysis of five post-apocalyptic films dealing with climate migration: Waterworld, Snowpiercer, Interstellar, Mad Max: Fury Road and Mortal Engines in order to identify recurring themes within their dystopian societies. These narratives share an apocalyptic literary approach, intertwining biblical elements to draw a subjectivity that enables us to see the end of our known world order simultaneously as a new beginning. In the plots, technological development is related to the disrespect of ecological harmo

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Banić-Grubišić, Ana. "Love in the time of the post-apocalypse – ways of imagining love after the end of the world." Issues in Ethnology and Anthropology 10, no. 1 (2016): 55. http://dx.doi.org/10.21301/eap.v10.i1.3.

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The paper deals with ways of representing love and amorous relationships in post-apocalyptic movies. In these movies, there is a dualism of romantic and partner love, and these two types of love are there to help build a new world, or rebuild the destroyed society. These images of love emphasize the importance of evolutionist theories for the central ideas of these films – in post-apocalyptic scenarios love mostly serves the purpose of having or protecting progeny, it is represented as the key tool and mechanism of survival.

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Dissertations / Theses on the topic "Post-apocalyptic films"

Harris, Emma Anne. "The post-apocalyptic film genre in American culture, 1968-2013." Thesis, University of Leicester, 2016. http://hdl.handle.net/2381/38758.

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This thesis examines post-apocalyptic films in American cinema in the period 1968-2013. These films will be analysed in relation to their status as a genre, their underpinning narrative structures, the influence of religious myths, and their relationship to American national identity. Three representative films will be analysed as case studies: The Ultimate Warrior (1975), Steel Dawn (1987), and I Am Legend (2007). A combined methodological approach will be used to study the post-apocalyptic genre. This approach utilises a ‘bottom-up’ thematic content analysis followed by close textual analysi

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McCarthy, Mark R. "As Good as it Gets: Redefining Survival through Post-Race and Post-Feminism in Apocalyptic Film and Television." Scholar Commons, 2018. http://scholarcommons.usf.edu/etd/7196.

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Concentrating on six representative media sites, 28 Days Later (2002), Dawn of the Dead (2004), Land of the Dead (2005), Children of Men (2007), Snowpiercer (2013), and one television series The Walking Dead (2010-present), this dissertation examines the strain of post-millennial apocalyptic media emphasizing a neo-liberal form of collaboration as the path to survival. Unlike traditional collaboration, the neo-liberal construction centers on the individual’s responsibility in maintaining harmony through intra-group homogeny. Through close textual analysis, critical race theory, and feminist me

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Stifflemire, Brett Samuel. "Visions of after the End| A History and Theory of the Post-apocalyptic Genre in Literature and Film." Thesis, The University of Alabama, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10635886.

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<p> Textual genre criticism and close readings of novels and films reveal that, in addition to chronicling catastrophes’ aftermaths, the post-apocalyptic genre envisions a future world in which traditional apocalyptic ideology is inadequate and unsatisfactory. While the full apocalyptic trajectory traditionally includes an end met by a new beginning, moments of cultural crisis have questioned the efficacy of apocalyptic metanarratives, allowing for a divergent, post-apocalyptic imagination that has been reflected in various fictional forms. </p><p> The post-apocalyptic genre imagines a

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Vogelová, Tereza. "Chaos." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2012. http://www.nusl.cz/ntk/nusl-232326.

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The existing world is becoming more disrupted and is falling apart. For its resurrection and restoration, a new way of thinking is necessary. This new type of thinking is needed to be able to open up its mind and to think about the process of thinking itself; it must understand what is happening in other systems, where processes seem to be taking place by themselves without any other visible interference. First Chaos is the title for an intermedia installation which contains 90 black and white photographs, both digital and analogue, all of which were taken between the years 2008 and 2012. Toge

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Books on the topic "Post-apocalyptic films"

J, Moore David. World gone wild a survivor's guide to post-apocalyptic movies. Schiffer Publishing, Ltd., 2014.

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Gurr, Barbara, ed. Race, Gender, and Sexuality in Post-Apocalyptic TV and Film. Palgrave Macmillan US, 2015. http://dx.doi.org/10.1007/978-1-137-49331-6.

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Riccio, Nicholas D. Seeking the End: Post-Apocalyptic Films 1916–2016. Nicholas D. Riccio Rare Books & Prints, Inc., 2018.

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Mitchell, Charles P. A Guide to Apocalyptic Cinema. Greenwood Publishing Group, Inc., 2001. http://dx.doi.org/10.5040/9798400660016.

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This examination and comprehensive assessment of apocalyptic film studies fifty films that illustrate the variety, range and different categories of the genre. Apocalyptic films are those that depict, on screen as part of the story, an event threatening the extinction of mankind. A brief overview identifies seven major categories of apocalyptic films: the religious or supernatural, celestial collision, solar or orbital disruption, nuclear war and radioactive fallout, germ warfare or pestilence, alien device or invasion, and scientific miscalculation. Alphabetically arranged entries rate the fi

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Gurr, Barbara. Race, Gender, and Sexuality in Post-Apocalyptic TV and Film. Palgrave Macmillan, 2015.

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Gurr, Barbara. Race, Gender, and Sexuality in Post-Apocalyptic TV and Film. Palgrave Macmillan, 2014.

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Crime and the Imaginary of Disaster: Post-Apocalyptic Fictions and the Crisis of Social Order. Palgrave Pivot, 2015.

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Yar, M. Crime and the Imaginary of Disaster: Post-Apocalyptic Fictions and the Crisis of Social Order. Palgrave Pivot, 2015.

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Zaniello, Tom. Epidemic Films to Die For. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9798765108543.

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Epidemic cinema remains an enduring genre of contemporary film, ranging from medical dramas to post-apocalyptic thrillers. Using a vast filmography, Zaniello not only details the incredible variety of epidemics and their role in popular culture, but also demonstrates how epidemics, as a rule, have been confronted without proper preparation or deployment of resources in different forms of media. Therefore,Epidemic Films to Die Foris the first and the only book that extensively analyzes the history and deployment of films and TV series towards a chronicle of epidemic films. In addition to provid

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Schmeink, Lars. 9/11 and the Wasted Lives of Posthuman Zombies. Liverpool University Press, 2017. http://dx.doi.org/10.5949/liverpool/9781781383766.003.0007.

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Chapter 7 returns to the changed social and political realities of the new millennium and the post-9/11 world, connecting global terror with the success of zombie films in mainstream culture. The renaissance of the zombie films can be directly linked to its allegorical depiction of viral, off-scene terror and the dystopian future of a post-apocalyptic world. In analyzing post-9/11 zombie films, especially the Resident Evil-film series and the 28 Days-franchise, the chapter reveals liquid modern anxieties as connected with terrorism and globalization. The films reimagine the zombie in terms of

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Book chapters on the topic "Post-apocalyptic films"

Maloyed, Christie L., and J. Kelton Williams. "The Democratic Impulse in Post-Apocalyptic Films." In The Politics of Horror. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42015-4_4.

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Geal, Robert. "Survivors in post-apocalyptic environmental dystopias." In Ecological Film Theory and Psychoanalysis. Routledge, 2021. http://dx.doi.org/10.4324/9780367373429-6.

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Grossman, Julie. "Cape Fear, The Simpsons, and Anne Washburn’s Post-Apocalyptic Mr. Burns, A Post-Electric Play." In Literature, Film, and Their Hideous Progeny. Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137399021_10.

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Sumerau, J., and Sarah L. Jirek. "Post-Apocalyptic Inequalities: Race, Class, Gender, and Sexualities in Firefly." In Race, Gender, and Sexuality in Post-Apocalyptic TV and Film. Palgrave Macmillan US, 2015. http://dx.doi.org/10.1007/978-1-137-49331-6_6.

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Booth, Robert A. "Organisms and Human Bodies as Contagions in the Post-Apocalyptic State." In Race, Gender, and Sexuality in Post-Apocalyptic TV and Film. Palgrave Macmillan US, 2015. http://dx.doi.org/10.1007/978-1-137-49331-6_2.

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Harris, Andrea. "Woman as Evolution: The Feminist Promise of the Resident Evil Film Series." In Race, Gender, and Sexuality in Post-Apocalyptic TV and Film. Palgrave Macmillan US, 2015. http://dx.doi.org/10.1007/978-1-137-49331-6_8.

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Gurr, Barbara. "Introduction: After the World Ends, Again." In Race, Gender, and Sexuality in Post-Apocalyptic TV and Film. Palgrave Macmillan US, 2015. http://dx.doi.org/10.1007/978-1-137-49331-6_1.

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Hobson, Amanda. "“We Don’t Do History”: Constructing Masculinity in a World of Blood." In Race, Gender, and Sexuality in Post-Apocalyptic TV and Film. Palgrave Macmillan US, 2015. http://dx.doi.org/10.1007/978-1-137-49331-6_10.

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Strang, Brent. "The Apocalypse Is No-Thing To Wish For: Revisioning Traumatic Masculinities in John Hillcoat’s The Road." In Race, Gender, and Sexuality in Post-Apocalyptic TV and Film. Palgrave Macmillan US, 2015. http://dx.doi.org/10.1007/978-1-137-49331-6_11.

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Berger, James. "Propagation and Procreation: The Zombie and the Child." In Race, Gender, and Sexuality in Post-Apocalyptic TV and Film. Palgrave Macmillan US, 2015. http://dx.doi.org/10.1007/978-1-137-49331-6_12.

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Conference papers on the topic "Post-apocalyptic films"

Caccavale, Fiammetta, Carina L. Gargalo, Krist Gernaey, and Ulrich Krühne. "To be fAIr: ethical and fair application of artificial intelligence in virtual laboratories." In SEFI 50th Annual conference of The European Society for Engineering Education. Universitat Politècnica de Catalunya, 2022. http://dx.doi.org/10.5821/conference-9788412322262.1398.

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In 1984, the film “The Terminator” predicted that a hostile Artificial Intelligence (AI) will threaten to extinguish humankind by 2029. Even though the real present is quite far from this post-apocalyptic scenario where AI rebels against its creator, a growing concern about the lack of ethical considerations in the use of AI is rapidly spreading, leading to the current “ethics crisis”. The lack of clear regulations is even more alarming considering that AI is becoming an integral part of new educational platforms. This follows the wave of digital transformation mainly induced by the Fourth Ind

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