Please use this identifier to cite or link to this item:
https://hdl.handle.net/10316/100372
DC Field | Value | Language |
---|---|---|
dc.contributor.author | Giuliani, Gaia | - |
dc.date.accessioned | 2022-06-14T14:15:07Z | - |
dc.date.available | 2022-06-14T14:15:07Z | - |
dc.date.issued | 2019 | - |
dc.identifier.issn | 1647-0737 | pt |
dc.identifier.uri | https://hdl.handle.net/10316/100372 | - |
dc.description.abstract | This article explores fantasies behind ideas of disaster in terms of a regeneration of human society through or against a catastrophe generated by a non-human entity. I will investigate two products of mass visual culture, Annihilation by Alex Garland (2018), and Arrival by Denis Villeneuve (2016). My analysis will rely on a reading against the grain of Fernando Meirelles’s Blindness (2008), M. Night Shyamalan’s The Happening (2008), and Juan Antonio Bayona’s The Impossible (2012), which I have examined in earlier studies (Giuliani, 2016a, 2017b). I will seek to compare and contrast these films, tracing how they developed out of a series of events and texts while also contextualising them in relation to contemporary conceptualisations of crisis, risk, catastrophe and disaster. | pt |
dc.description.abstract | Este artigo explora as fantasias subjacentes às ideias de desastre e de regeneração da sociedade humana através de ou contra uma catástrofe gerada por uma entidade não-humana. Irei investigar dois produtos da cultura visual de massas, Annihilation de Alex Garland (2018) e Arrival de Denis Villeneuve. A minha análise baseia-se numa leitura em contracorrente de Blindness de Fernando de Meirelles, The Happening de M. Night Shyamalan’s (2008) e de The Impossible, de Juan Antonio Bayona (2012), que examinei em trabalhos recentes (Giuliani, 2016a, 2017b). Tentarei comparar e pôr em contraste estes filmes, reconstituindo como se desenvolvem a partir de uma série de eventos e textos, ao mesmo tempo que os contextualizarei face a conceções contemporâneas de crise, risco, catástrofe e desastre. | pt |
dc.language.iso | eng | pt |
dc.publisher | Centro de Estudos Sociais da Universidade de Coimbra | pt |
dc.relation | DL57/2016/CP1341/CT0025 | pt |
dc.relation | CES-SOC/UID/50012/2019 | pt |
dc.relation | POCI-01-0145-FEDER-029997 | pt |
dc.rights | openAccess | pt |
dc.rights.uri | http://creativecommons.org/licenses/by/4.0/ | pt |
dc.subject | Disaster | pt |
dc.subject | Postcolonial studies | pt |
dc.subject | Posthuman communication | pt |
dc.subject | Science fiction | pt |
dc.subject | Desastre | pt |
dc.subject | Comunicação pós-humana | pt |
dc.subject | Estudos pós-coloniais | pt |
dc.subject | Ficção científica | pt |
dc.title | The End of the World as We Know It. For a Postcolonial Investigation of the Meaning(s) of Environmental Catastrophe in Sci-Fi Films | pt |
dc.title.alternative | O fim do mundo como o conhecemos. Para uma investigação pós-colonial do significado(s) da catástrofe ambiental em filmes de ficção científica | pt |
dc.type | article | - |
degois.publication.firstPage | 143 | pt |
degois.publication.lastPage | 164 | pt |
degois.publication.issue | 32 | pt |
degois.publication.location | Coimbra | pt |
degois.publication.title | e-cadernos CES | pt |
dc.relation.publisherversion | https://journals.openedition.org/eces/5033 | pt |
dc.peerreviewed | yes | pt |
dc.identifier.doi | 10.4000/eces.5033 | pt |
dc.date.embargo | 2019-01-01 | * |
uc.date.periodoEmbargo | 0 | pt |
item.openairecristype | http://purl.org/coar/resource_type/c_18cf | - |
item.openairetype | article | - |
item.cerifentitytype | Publications | - |
item.grantfulltext | open | - |
item.fulltext | Com Texto completo | - |
item.languageiso639-1 | en | - |
crisitem.author.researchunit | CES – Centre for Social Studies | - |
crisitem.author.parentresearchunit | University of Coimbra | - |
crisitem.author.orcid | 0000-0001-9535-6875 | - |
Appears in Collections: | I&D CES - Artigos em Revistas Nacionais |
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File | Description | Size | Format | |
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The End of the World as We Know It.pdf | 381.73 kB | Adobe PDF | View/Open |
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