The definition of apocalypse described by Burgess and Nur (2008) is “The battle at the end of the world, as described in the Book of Revelation in the Bible. Sometimes also used to describe any religiously charged major societal upheaval” (Burgess and Nur, 2008). This essay will investigate this definition and see if it fits contemporary beliefs. Ideas of the apocalypse have fascinated the public throughout history. Every society has different ideas or predictions about a global cataclysm that will end the world. The end was once interpreted as a supernatural event in which the Earth would be purified by a Deity or divine God. Scientific beliefs about a natural cataclysmic event that will end the world compete with religious theories. During the investigation of Roland Emmerich’s film of 2009, 2012, Solar flares, pole shifts, Earth crust displacement, the Rapture, the Mayan Calendar, the Hopis all give detailed accounts of how the Earth will be destroyed. 2012 shows the conflicting ideas of contemporary society; and this essay will show the various theories and how they act as a guide for surviving the end of the world. The theme of conspiracy theory is also extremely evident throughout society today and these theories are exposed in 2012.
Table of Contents
1. Ideas of Apocalypse and Conspiracy Theory in Contemporary Cinema
2. Apocalyptic and Paranoid Cultures
Objectives and Topics
This study aims to investigate the definition of the apocalypse and its relevance to contemporary societal beliefs, particularly as portrayed in Roland Emmerich's film 2012. It explores how ancient prophecies, scientific theories, and conspiracy narratives intersect to shape modern perceptions of global cataclysms and the potential for human survival.
- Analysis of diverse apocalyptic definitions and religious interpretations.
- Examination of scientific vs. religious explanations for global disasters.
- Exploration of conspiracy theories and their influence on popular culture.
- Evaluation of mythmaking and symbolic storytelling in contemporary cinema.
Excerpt from the Book
Apocalyptic and Paranoid Cultures
The definition of apocalypse described by Burgess and Nur (2008) is “The battle at the end of the world, as described in the Book of Revelation in the Bible. Sometimes also used to describe any religiously charged major societal upheaval” (Burgess and Nur, 2008). This essay will investigate this definition and see if it fits contemporary beliefs. Ideas of the apocalypse have fascinated the public throughout history. Every society has different ideas or predictions about a global cataclysm that will end the world. The end was once interpreted as a supernatural event in which the Earth would be purified by a Deity or divine God. Scientific beliefs about a natural cataclysmic event that will end the world compete with religious theories. During the investigation of Roland Emmerich’s film of 2009, 2012, Solar flares, pole shifts, Earth crust displacement, the Rapture, the Mayan Calendar, the Hopis all give detailed accounts of how the Earth will be destroyed. 2012 shows the conflicting ideas of contemporary society; and this essay will show the various theories and how they act as a guide for surviving the end of the world. The theme of conspiracy theory is also extremely evident throughout society today and these theories are exposed in 2012.
Summary of Chapters
1. Ideas of Apocalypse and Conspiracy Theory in Contemporary Cinema: This chapter introduces the research context, defining the apocalypse through historical, religious, and scientific lenses while setting the stage for analyzing the film 2012.
2. Apocalyptic and Paranoid Cultures: This section deepens the analysis by exploring specific prophetic traditions, scientific disaster theories, and the prevalence of conspiracy narratives as they manifest in contemporary cultural expressions.
Keywords
Apocalypse, Conspiracy Theory, 2012, Roland Emmerich, Mayan Calendar, Hopi Prophecy, Global Cataclysm, Rapture, Science, Religion, Mythmaking, Social Discourse, New World Order, Survival, Cinema
Frequently Asked Questions
What is the core subject of this research paper?
The paper examines the intersection of apocalyptic beliefs, conspiracy theories, and their representations within the context of contemporary cinema, specifically using the film 2012 as a case study.
What are the primary thematic fields covered?
The central themes include religious eschatology, scientific disaster scenarios, cultural myths, government conspiracies, and the societal fears surrounding global collapse.
What is the primary objective of this work?
The goal is to determine if traditional definitions of the apocalypse remain relevant in modern society and to analyze how these theories serve as a guide for understanding survival narratives in film.
Which scientific methods are analyzed in the context of the apocalypse?
The work discusses theories such as solar flares, neutrino radiation, Earth crust displacement, and magnetic pole shifts as proposed by scientific concepts and film-based narratives.
What content is addressed in the main body of the text?
The main body focuses on the synthesis of Mayan prophecies, Hopi spiritual teachings, Christian apocalyptic expectations, and the film's depiction of government-orchestrated survival strategies.
Which keywords characterize this work?
Key terms include Apocalypse, Conspiracy Theory, 2012, Mayan Calendar, Survival, Mythmaking, and Global Cataclysm.
How does the film use the concept of the "Chosen" in its narrative?
The film portrays the "Chosen" not through religious virtue, but through a socioeconomic lens where the elite and wealthy are selected to repopulate, reflecting modern conspiratorial fears of a New World Order.
What symbolic role do the Arks play in the film?
The Arks are interpreted as symbols that displace the religious narrative of Noah; they represent human ingenuity and technology saving the secular elite rather than a divine power saving the faithful.
- Citation du texte
- Lea Weller (Auteur), 2010, Ideas of Apocalypse and Conspiracy Theory in Contemporary Cinema, Munich, GRIN Verlag, https://www.grin.com/document/264580
