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The United States, the only country to have dropped the bomb, and Japan, the only one to have suffered its devastation, understandably portray the nuclear threat differently on film. American science fiction movies of the 1950s and 1960s generally proclaim that it is possible to put the nuclear genie back in the bottle. Japanese films of the same period assert that once freed the nuclear genie can never again be imprisoned. This book examines genre films from the two countries released between 1951 and 1967--including Godzilla (1954), The Mysterians (1957), The Incredible Shrinking Man (1957), On the Beach (1959), The Last War (1961) and Dr. Strangelove (1964)--to show the view from both sides of the Pacific.
"In her brilliant, wide ranging, nuanced study of apocalypse, Keller has written a definitive cultural and theological essay. In this book she is doing the work of the true intellectual: providing learned, passionate guidance for living the good life, all of us together, here and now, on our planet." —Sallie McFague, Distinguished Theologian in Residence Vancouver School of Theology "A richly evocative exploration of apocalyptic's ambiguous possibilities.... Inspiring in the fullest personal, political, and religious senses of the term." —Kathryn Tanner University of Chicago Divinity School "Catherine Keller is a poet among theologians. Her writing attains imaginative heights and depths that expose the flatly prosaic character of most theological work. One finds oneself lingering over sentences, images and tropes, hearing them resonate with connections and insights." —Peter Hodgson Journal of the American Academy of Religion
Sid, Axl, and Ivan volunteer to make a late-night fast-food run for the high school theater crew, and when they return, they find themselves. Not in a deep, metaphoric sense: They find copies of themselves onstage. As they look closer, they begin to realize that the world around them isn’t quite right. Turns out, when they went to the taco place across town, they actually crossed into an alien dimension that’s eerily similar to their world. The aliens have made sinister copies of cars, buildings, and people—and they all want to get Sid, Axl, and Ivan. Now the group will have to use their wits, their truck, and even their windshield scraper to escape! But they may be too late. They may now be copies themselves . . .
Can social theories forge new paths into an uncertain future? The future has become increasingly difficult to imagine. We might be able to predict a few events, but imagining how looming disasters will coincide is simultaneously necessary and impossible. Drawing on speculative fiction and social theory, Theory for the World to Come is the beginning of a conversation about theories that move beyond nihilistic conceptions of the capitalism-caused Anthropocene and toward generative bodies of thought that provoke creative ways of thinking about the world ahead. Matthew J. Wolf-Meyer draws on such authors as Kim Stanley Robinson and Octavia Butler, and engages with afrofuturism, indigenous speculative fiction, and films from the 1970s and ’80s to help think differently about the future and its possibilities. Forerunners: Ideas First Short books of thought-in-process scholarship, where intense analysis, questioning, and speculation take the lead
As a vast Holy War begins, a powerful new force emerges in the second book of this “violent, passionate, darkly poetic” fantasy series (SFSite.com). The first battle against the heathen has been won, but while the Great Names squabble over the spoils, Kellhus draws more followers to his banner. The sorcerer Achamian and his lover, Esmenet, submit entirely—only to face an unimaginable test of faith. The warrior Cnaiur falls ever deeper into madness. The skin-spies of the Consult watch with growing trepidation. And across the searing wastes of the desert, a name—a title—begins to be whispered among the faithful. Who is the Warrior-Prophet? A dangerous heretic who turns brother against brother? Or the only man who can avert the Second Apocalypse? With the fate of the Holy War hanging in the balance, the great powers will have to choose between their most desperate desires and their most ingrained prejudice. Between hatred and hope. Between the Warrior-Prophet and the end of the world . . .
In 1975, after his two Godfather epics, Francis Ford Coppola went to the Philippines to film Apocalypse Now. He scrapped much of the original script, a jingoistic narrative of U.S. Special Forces winning an unwinnable war. Harvey Keitel, originally cast in the lead role, was fired and replaced by Martin Sheen, who had a heart attack. An overweight Marlon Brando, paid a huge salary, did more philosophizing than acting. It rained almost every day and a hurricane wiped out the set. The Philippine government promised the use of helicopters but diverted them at the last minute to fight communist and Muslim separatists. Coppola filmed for four years with no ending in the script. The shoot threatened to be the biggest disaster in movie history. Providing a detailed snapshot of American cinema during the Vietnam War, this book tells the story of how Apocalypse Now became one of the great films of all time.
Our fear of the world ending, like our fear of the dark, is ancient, deep-seated and perennial. It crosses boundaries of space and time, recurs in all human communities and finds expression in every aspect of cultural production - from pre-historic cave paintings to high-tech computer games. This volume examines historical and imaginary scenarios of apocalypse, the depiction of its likely triggers, and imagined landscapes in the aftermath of global destruction. Its discussion moves effortlessly from classic novels including Aldous Huxley's Brave New World, George Orwell's Nineteen Eighty-Four and Margaret Atwood's Oryx and Crake, to blockbuster films such as Blade Runner, Armageddon and Invasion of the Body Snatchers. Lisboa also takes into account religious doctrine, scientific research and the visual arts to create a penetrating, multi-disciplinary study that provides profound insight into one of Western culture's most fascinating and enduring preoccupations.
"You're going to love Nyx . . . she makes Han Solo look like a Boy Scout.”—io9 Ex-government assassin turned bounty-hunter, Nyx, is good at solving other people’s problems. Her favorite problem-solving solution is punching people in the face. Then maybe chopping off some heads. Hey—it’s a living. Nyx's disreputable reputation has been well earned. After all, she’s trying to navigate an apocalyptic world full of giant bugs, contaminated deserts, scheming magicians, and a centuries-long war that’s consuming her future. Managing her ragtag squad of misfits has required a lot of morally-gray choices. Every new job is another day alive. Every new mission is another step toward changing a hellish future—but only if she can survive.
“Edgar-winning Vaught, a neuropsychologist, has both personal and professional experience to draw on in crafting a narrator who is admirably smart and resilient despite an ‘itchy’ brain and a compulsion to count things.” —Booklist (starred review) “Deeply smart and considerate.” —BCCB “An absorbing mystery.” —Kirkus Reviews “A strong addition to help diversify realistic fiction collections to include neuroatypical characters and heroines.” —School Library Journal In this Edgar Award–winning novel by mystery superstar Susan Vaught, Jesse is on the case when money goes missing from the library and her dad is looking like the #1 suspect. I could see the big inside of my Sam-Sam. I had been training him for 252 days with mini tennis balls and pieces of bacon, just to prove to Dad and Mom and Aunt Gus and the whole world that a tiny, fluffy dog could do big things if he wanted to. I think my little dog always knew he could be a hero. I just wonder if he knew about me. When the cops show up at Jesse’s house and arrest her dad, she figures out in a hurry that he’s the #1 suspect in the missing library fund money case. With the help of her (first and only) friend Springer, she rounds up suspects (leading to a nasty confrontation with three notorious school bullies) and asks a lot of questions. But she can’t shake the feeling that she isn’t exactly cut out for being a crime-solving hero. Jesse has a neuro-processing disorder, which means that she’s “on the spectrum or whatever.” As she explains it, “I get stuck on lots of stuff, like words and phrases and numbers and smells and pictures and song lines and what time stuff is supposed to happen.” But when a tornado strikes her small town, Jesse is given the opportunity to show what she's really made of—and help her dad. Told with the true-as-life voice Susan Vaught is known for, this mystery will have you rooting for Jesse and her trusty Pomeranian, Sam-Sam.