Constructions of Non-Diegetic Hope in Don Mckeiiar's Last Night
Notice bibliographique
Résumé
The turn of the twenty-first century witnessed a deluge of American apocalypse films. Films such as Independence Day (1996), Armageddon (1998), Deep Impact (1998), The Day After Tomorrow (2004), and 2012 (2009) articulate fears regarding the demise of American culture in the face of interstellar or ecological disaster. These films all focus on possible causes of apocalypse, and how the actions of predominantly male American heroes, under the patriarchy of the American industrial military complex, might save the world from disaster. The fundamental question these films pose is If you found out the world was going to end, what would you do to stop it? Last Night (1998) is a single representative example of a Canadian film that explores the apocalypse from a distinctly different perspective. Last Night follows the interconnected narrative trajectories of various characters as they live out their final moments on earth and concerns itself with a more open ended question: If you found out the world was going to end, what would you do? Reasons for the characters' fear and unhappiness are all personal and social. Larger ecological causes or causes stemming from lacking governmental intervention, distant from a heroic individual and beyond their control, are irrelevant to the narrative. Last Night ends with what seems to be the death of all life on earth. Does this mean that the Canadian apocalypse film is void of themes of hope? The question seems counter-intuitive to a film so full of folly, levity, and revelation. However, if all the characters die where can the hope be? Hope, in the form of social revelation within the diegesis of Last Night, is aimed more directly at an audience that will survive the fictitious apocalypse and puts the audience in conversation with the narrative rather than distancing them from it as with the American apocalypse blockbuster. One of the most interesting aspects of the Hollywood blockbuster apocalypse film is that the apocalypse never *pens. Perhaps the most obvious example of this characteristic occurs in Armageddon. This film depicts a ludicrous resolution in which the asteroid that threatens the destruction of life on earth is successfully diverted from its collision course in a spectacular space mission. Many American apocalypse films focus on the discovery of cause and a plan to avert annihilation. Independence Day, Deep Impact, and Armageddon all deal with interstellar threats to the life on earth. These films locate the cause of the potential apocalypse within the scope of an alien other, either sentient or not. Following 9/11 the source of apocalypse became more mundane. The Day After Tomorrow and 2012, for example, consider global warming the ecological source of potential disaster. In Cinema Wary: Hollywood Film and Politics in the Bush-Cheney Era Douglas Kellner suggests that these films emerged as an expression of the anxieties experienced by Western culture in the face of mismanaged foreign, industrial, and ecological policy by the Bush-Cheney administration.(1) Whenever social anxieties proliferate, films and fantasy evoke social apocalypse, a trope evident in the Hollywood films of the 2000s that articulate worries about environmental crisis and socioeconomic and political collapse. (2) However, these films attempt to displace responsibility for the apocalypse away from American culture. For example, in Independence Day, David's recycling efforts and his concerns about nuclear fallout are trivialized against the threat of alien invasion. Once the source of apocalypse has been traced and displaced onto a specifically non-American source, the fantasy of aversion can play itself out. While the earth might take a beating and major populations are obliterated, these films all end with the clear indication that life on earth will continue on its merry way having avoided annihilation. In its simplest articulation the American apocalypse film is an escapist fantasy that valorizes the power of American patriarchy on a global scale. …
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
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Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,000 | 0,000 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,002 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
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