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Alan Moore’s Swamp Thing and radical ecology
Maggie Gray

environmental activism, particularly as manifest in the contemporary social movement against man-made climate change, can be conceived as a Gothic politics invoking the malevolent spectre of a cataclysmic eco-apocalypse, which can only be averted through drastic societal transformation and the development of a new ecological sensibility. The sublime threat posed by a significant rise in

in Alan Moore and the Gothic Tradition
Clarice Greco, Mariana Marques de Lima and Tissiana Nogueira Pereira

Jesus received recognition at the FYMTI – Festival y Mercado de TV – Ficción Internacional in the category of Best Production in 2012 and 2014, respectively. Due to their good results, the strategy was confirmed and the channel broadcast, in 2015, its first biblical telenovela, The Ten Commandments . This production was their greatest success and thus served as an impetus for the channel to invest in other telenovelas, The Promised Land ( 2016–17 ), O Rico e Lázaro [The Rich Man and Lazarus] ( 2017 ), Apocalypse ( 2017–18 ), with the next one, Jesus ( 2018

in The Bible onscreen in the new millennium
Arlette Jouanna

183 L’air demande à les étouffer, La terre à les reduire en cendre Le feu à les ardre [brûler] en enfer. [The air demands that they be smothered Earth that they be turned to ash Fire that they burn in hell.]7 What is surprising is the similarity between the borrowings from the Bible made by the authors of these diatribes and those which are characteristic of normal Protestant rhetoric: quotations from the Psalms; comparisons of the enemy church to the ‘great prostitute’ of the Apocalypse or to the ‘house of Babylon’; and evocations of the history of the Jews. The

in The Saint Bartholomew’s Day Massacre
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Linnie Blake

right what was always right, and somehow never was right.’11 Naturally, Reagan’s reactionary political programme, underscored by denial and the will to apocalypse, would come to be reflected in cinematic production: in films such as Rambo: First Blood 76 The traumatised 1970s Part Two (1985) and in an entire slew of movies like Robert Zemekis’s Back to the Future (1985) which were nostalgically set in the picketfenced suburbia of Eisenhower’s 1950s – long before the events of Vietnam and Watergate, economic collapse and civil insurrection had repeatedly wounded the

in The wounds of nations
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Paul Newland

(Donald Sinden), occupying the same spaces as gangsters, and Inspector Matthews (Nigel Davenport) exclaiming at one point ‘You can buy yourself out of anything with money in this bloody country.’ The two world wars haunt many British films of the period, suggesting that a deep, unshakeable vision of a traumatic but also glorious past informs aspects of a troubled British present. And a number of films deal with a looming apocalypse; or, at the very least, develop fears around a sense of an ending. Examples here include Zardoz ( John Boorman, 1974), a science

in British films of the 1970s
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Heterocosms and bricolage in Moore’s recent reworkings of Lovecraft
Matthew J.A. Green

to their status as fictions, but also because they allow Moore to work through the darker implications of his understanding of art as magic. If art can allow human beings to imagine alternate worlds and if apocalypse can be understood as the process of bringing such worlds into being on a wider scale, then Lovecraft provides the materials for a case study of what might happen

in Alan Moore and the Gothic Tradition
British fiction and the EU
Lisa Bischoff

threats. 4 For the scholars of late antiquity and the early Middle Ages, Rome was the ‘natural successor to a sequence consisting of Alexander the Great, Persia, and Babylonia’ and thus the ‘fourth and final realm of civilisation outlined in the Book of Daniel whose existence was necessary for defence against the forces of the apparently imminent Apocalypse’ (Foster, 2015 : 45). In the course of the centuries, several other countries came to see themselves as the subsequent new, fifth empire (Foster, 2015 : 45). On Roman Empire and European Unification see also

in The road to Brexit
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Sovereignty and superheroes
Neal Curtis

potentially dangerous consequences of an uncompromising pursuit of order in the face of what we see as the forces of chaos. Introducing a problem I will return to at length in Chapter 7, the malevolent threat from super-villains that seemingly required the exercise of power without limits creates a situation in which the exercise of that power brings about the devastation against which it was supposed to guard. The story is also interwoven with biblical visions of apocalypse. Mark Waid has a preacher named Norman McCay recite passages from the Book of Revelations, while

in Sovereignty and superheroes
W. J. McCormack

generates a complementary dualism. The apocalypse which Séraphita inaugurates in her union with God, signalled at a low mimetic level in Wilfrid’s desire for conquest and world domination, must lead to the Last Judgement: all will be equal in the eyes of the Lord, but there will follow a division of the blessed and the damned. Heaven exists by courtesy of Hell. It is not the purpose of

in Dissolute characters
The ecoGothic sensibilities of Mary Shelley and Nathaniel Hawthorne
Jennifer Schell

twentieth-century fears of nuclear apocalypse, ‘Imagery of extermination does not eliminate any of these modes of symbolic immortality, but casts all of them into doubt’ ( 1979 : 345). Though certainly relevant to the nuclear age, this observation also pertains to other chronological periods because some of the most disruptive and terrifying features of extinction are timeless

in The Gothic and death