Ann Sherif

v 8 v Hiroshima/Nagasaki, civil rights and anti-war protest in Japan’s Cold War Ann Sherif Twenty years after the Hiroshima and Nagasaki bombings, the rest of the world had come to regard nuclear destruction as a function of the imagination, visually and rhetorically preparing for apocalypse, defining the looming threat as a permanent feature of modern life. In Hiroshima and Nagasaki, that global imagination co-existed uncomfortably with the living memories, the social challenges, and visible and hidden scars of the hibakusha (survivors of the atomic bombings

in Understanding the imaginary war
The tragedy (and comedy) of accelerated modernisation
Kieran Keohane and Carmen Kuhling

Tiger, true to Wilde’s definition of the cynic as ‘one who knows the price of everything, but the value of nothing’, Walsh says: ‘I’m not interested in what people think. I just do what I do and it’s very successful.’21 The Irish apocalypse and intimations of redemption In the premodern cosmology of traditional Irish Catholicism, the interior that matters is the interior of the soul. In modern Irish consumerism, it is the interior of the house. Walter Benjamin says, ‘The bourgeois interior is a dialectical image in which the reality of industrial capitalism is

in The end of Irish history?
Zombie pharmacology In the Flesh
Linnie Blake

globally ubiquitous popular-cultural trope of zombie apocalypse. For unlike dramas such as The Walking Dead (AMC, 2010–), which focuses on a group of vastly outnumbered survivors subsisting in the ruins of an infrastructurally devastated nation, Mitchell’s undead are the minority, who have been pharmacologically returned to sentient consciousness and, at the drama’s opening, are

in Neoliberal Gothic
Angela Carter and Claude Lévi-Strauss
Marie Mulvey-Roberts

Dishes’ (1998e: 98). 2 For a further discussion of Carter’s satirical depiction of the Professors’ knowledge (or lack of), see my chapter on Carter’s engagement with JeanJacques Rousseau and Thomas Hobbes in Imagining the End: Interdisciplinary Perspectives on the Apocalypse (Yeandle, 2015: 55–82). 3 In fact, Carter copies down a 300-word quotation from pages 5–6 of The Raw and the Cooked (undated), a lengthy quotation which includes the shorter quotations cited here. Myths, meat and American Indians 143 4 In ‘The Tiger’s Bride’, one story in The Bloody

in The arts of Angela Carter
Abstract only
Family, gender and post-colonial issues in three Vietnam War texts
Marion Gibson

point: the war is represented as a battle of the sexes over children. He links this analysis with a post-colonial reading of the war, stressing the incompatibility of ‘domination and benevolence’, an imperialist contextualisation later popularised by the adaptation of Joseph Conrad’s Heart Of Darkness into Apocalypse Now in 1979. 15 His setting announces this at once: if the Truman Library is

in Gender and warfare in the twentieth century
Religion, misogyny, myth and the cult
Marie Mulvey-Roberts

occupied by Mother and her singlebreasted warrior women in The Passion of New Eve and, incidentally, it was widely reported in the newspapers at the time that Sharon Tate’s breast had been cut off by her attackers (Bugliosi, [1974] 2015: 28), which turned out to be untrue. Even though Manson made use of the language from the Book of Revelations in his prophecies, he actually named the coming cataclysm ‘Helter Skelter’, after a track from the Beatles’ White Album. Unbeknown to the Fab Four, they had been transformed by Manson into the four horsemen of the Apocalypse

in The arts of Angela Carter
Sarah Daynes

examples. It is a psalm of faith, of trust, and of protection: God provides his people with everything they need, and protects them. In the context of the Rastafari movement, this psalm also takes on both the colour of war (God offering protection against earthly enemies) and of the apocalypse (“the valley of the shadow of death”), which is ascribed within the opposition between the Righteous and the pagans, the oppressed and the oppressors, the slaves and the enslavers. Deliver me from me enemies, oh Jah Fight against those who rise up against me. Paul Elliott, “Save me

in Time and memory in reggae music
Kieran Keohane and Carmen Kuhling

’. These people were not yet zombies, though that became the fate of millions of their grandchildren as we glimpse them again on T. S. Eliot’s (1996) The Waste Land; London, epicentre of early twentieth-century metropolitan civilization, appearing as a fractured and incoherent cultural and spiritual wasteland. And for those few Irish who had not emigrated to London or its equivalents, but who had remained in Ireland hoping to be nourished by the modern Irish Republic, Kavanagh (1964: 57) says that they had nothing but ‘the hungry fiend screaming an apocalypse of clay in

in The domestic, moral and political economies of post-Celtic Tiger Ireland
Forbidden Planet, Frankenstein, and the atomic age
Dennis R. Perry

Alligator People , 1959), nearly depopulating the earth ( World Without End , 1956), and eventually leading to a complete apocalypse ( On the Beach , 1959). Like these films, Forbidden Planet is clearly concerned with scientific issues surrounding the creation of atomic and nuclear weapons. The native Krell’s nuclear self-annihilation serves as a warning of what happens when fallible beings are given access to unlimited power. Even Altair’s remote, arid setting, where Morbius unearths the Krell’s deadly secrets, evokes the Los Alamos National Laboratory in the New

in Adapting Frankenstein
Representations of war and rurality in British and American film
Rachel Woodward and Patricia Winter

a unified category. We have epic stories from all the main theatres of combat of the First World War (from All Quiet on the Western Front to Charlotte Grey ) and the Second ( The Dam Busters , A Bridge Too Far , In Which We Serve ), from Korea (think M*A*S*H ) to Vietnam (from The Green Berets and Rambo to Born on the Fourth of July and Apocalypse Now ), and through to the armed

in Cinematic countrysides