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


  by Conrad Ostwalt


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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