"Visions of the End. Secular Apocalypse in Recent Hollywood Film"

Endnotes

  by Conrad Ostwalt


Endnotes

l. This understanding of the relationship between religion and secularization exists throughout the scholarly literature. For a good articulation of the predominant attitude, see Bernard Eugene Meland, The Secularization of Modern Cultures (New York: Oxford University Press, 1966). See Conrad Ostwalt, "Conclusion: Religion, Film, and Cultural Analysis," in Screening the Sacred: Religion, Myth, and Ideology in Popular American Film, edited by Joel W. Martin and Conrad E. Ostwalt, Jr. Boulder: Westview Press, 1995, p. 157.

2. Stephen L. Carter, The Culture of Disbelief: How American Law and Politics Trivialize Religious Devotion (New York: Basic Books, 1993), p. 15-16.

3. Ibid., p. 17. See also Wade Clark Roof and William McKinney, American Mainline Religion: Its Chanting Shape and Future (New Brunswick, NJ: Rutgers University Press, 1987).

4. See Conrad Ostwalt, "Hollywood and Armageddon: Apocalyptic Themes in Recent Cinematic Presentation," in Screening the Sacred, pp. 55-63.

5. Kevin Reynolds quoted in Donald E. Williams, "A Oceanic Odyssey," American Cinematographer vol. 76, no. 8 (August 1995), pp. 40-41.

6. See Williams, "A Oceanic Odyssey," p. 41, and Jose Arroyo, "Waterworld," Sight and Sound vol. 5, no. 9 (September 1995).

7. John Calhoun, "12 Monkeys," TCI (March 1996), p. 35.

8. See Thomas Delapa, "Deja vu...again," Boulder Weekly (January 11, 1996), p. 24.

9. For a detailed plot analysis of the movie, see Philip Strick, "12 Monkeys," Sight and Sound vol. 6, issue 4 (April 1996), pp. 56ff.

10. Jeffrey Beecroft quoted in Calhoun, "12 Monkeys," p. 36.

11. See Strick, p. 56.

12. David Morgan, "Extremities," Sight and Sound vol. 6, no. 1 (January 1996), pp. 18-20.

 


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