Postmodern attitudes can lead to ambiguous conclusions that lack a degree of certainty that can be helpful in sociological analysis – but as Rosen states in the epilogue to Apocalyptic Transformation, the value of deconstructing the concept in a postmodern context relates to “exposing the inherent dangers of this most powerful grand narrative” in order to “seek less combustible creeds in which to place our hopes.” In essence, the apocalypse can just as easily be used to vouch for the goodness in humanity as it can be manipulated to encourage ignorance and a simplistic worldview.
In her essay “The Days are Numbered: The Romance of Death, Doom, and Deferral
in Contemporary Apocalypse Films,” Lee Quinby illuminates the relationships between gender roles, time, and morality within three contemporary cinematic depictions of the apocalypse. Having seen all three films, I was interested in the patriarchal divide that Quinby points out as a reoccurring motif. The disparities between depictions of gender in Hollywood, particularly in the science-fiction genre, are apparent, but Quinby’s observations pertain particularly to a perspective that has remained relatively unchanged since Revelation. In the three films, the protagonists are heroic males, however flawed, and females are relegated to supporting roles that exemplify their gender as in need of masculine protection. I agree with Quinby’s assessment that Children of Men is the least explicit of all three movies in its dated treatment of gender roles, but even as one of my favorite films, I recognize that the character of Claire is one-sided, even as the savior of the human race. Because of Cuaron’s nuanced direction and keen eye for seamless aesthetics and highly choreographed, evocative visuals, the film serves as a distinctly postmodern take on the End of Days but retains noteworthy trappings of the traditional, gendered myth.
Both authors seem to agree on the danger in the myth, but also the need for varied discourse and reflection. The inherent brutality in the apocalypse is perhaps less foreboding than the construct’s potential as a tool to induce submission and fear, and its prevalence in film is evidence of our society’s fascination on a global scale. As consumers of the apocalypse become more discerning and more familiar with real-world applications of the concept, like terrorism, global epidemics, and oppressive political structures, the concept itself can seem to morph into an amorphous entity with no beginning and no end. It is possible to derive meaning from such a complex set of beliefs, however, in that respectful analysis itself creates an ever-evolving compendium of discourse that can ultimately expound on more cosmic, timeless concerns of our own uncertain future.
My apologies for lateness!
