By Jesse Kavadlo
Bringing jointly disparate and well known genres of the twenty first century, American pop culture within the period of Terror: Falling Skies, darkish Knights emerging, and Collapsing Cultures argues that pop culture has been preoccupied via fantasies and narratives ruled through the anxiousness -and, unusually, the want fulfillment-that comes from the breakdowns of morality, kinfolk, legislations and order, and storytelling itself. From aging superheroes to younger grownup dystopias, heroic killers to lustrous vampires, the figures of our fiction, movie, and tv time and again demonstrate and luxuriate in the imagery of terror. Read more...
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Extra info for American popular culture in the era of terror : falling skies, dark knights rising, and collapsing cultures
Perilous ﬂights have been a staple of disaster ﬁlm since the 1950s, with James Stewart in No Highway in the Sky (1951) and John Wayne in The High and the Mighty (1954). Films like Airport (1970) seem in keeping with contemporaries The Poseidon Adventure and The Towering Inferno, in that their threats come from errors or accidents, not directly from hijackers. It was not until the 1990s that the trend of terrorists and criminals hijacking a plane becomes a commonplace ﬁlm trope. Passenger 57 (1992), about airplane terrorists that only Wesley Snipes can stop, was quickly followed by Executive Decision (1996), Air Force One (1997), and Con Air (1997).
I wanted to kill all the ﬁsh I couldn’t afford to eat, and smother the French beaches I’d never see” (123). The impulse is apolitical destruction of an apathetic world, a way for the powerless to fantasize about spiting nature. Yet the language is still that of consumption— seeing ﬁsh as an edible commodity, for example. He still employs the same consumerist thinking, only with the sentiments reversed: the obsession with acquisition has turned into a desire for its removal. By the end, however, we see the impulse evolve.
Open the dump valves on supertankers and uncap offshore oil wells. I wanted to kill all the ﬁsh I couldn’t afford to eat, and smother the French beaches I’d never see” (123). The impulse is apolitical destruction of an apathetic world, a way for the powerless to fantasize about spiting nature. Yet the language is still that of consumption— seeing ﬁsh as an edible commodity, for example. He still employs the same consumerist thinking, only with the sentiments reversed: the obsession with acquisition has turned into a desire for its removal.