Representations of the End in French Literature and Culture
Edited By Leona Archer and Alex Stuart
Leona Archer and Alex Stuart, with Daron Burrows Introduction
Few sections of the Bible have permeated modern consciousness as thor- oughly as the final book of the New Testament, the Revelation of John. Even as knowledge of Christian Scripture wanes in an increasingly secular western society, popular awareness of motifs such as 666, Antichrist, Armageddon, the Whore of Babylon and the Four Horsemen may, paradoxically, be greater than ever, to judge by the evidence of cinema and television,1 the sub- culture of extreme heavy metal2 or media coinages such as ‘snowpocalypse’.3 1 Cf. Kim Newman, Millennium Movies: End of the World Cinema (London: Titan, 1999); Charles P. Mitchell, A Guide to Apocalyptic Cinema (Westport, CT: Greenwood, 2001); Wheeler Winston Dixon, Visions of the Apocalypse: Spectacles of Destruction in American Cinema (London and New York: Wallf lower, 2003); Joachim Valentin, Zwischen Fiktionalität und Kritik: die Aktualität apokalyptischer Motive als Herausforderung theologischer Hermeneutik (Freiburg im Breisgau: Herder, 2005); Kirsten Moana Thompson, Apocalyptic Dread: American Film at the Turn of the Millenium (Albany: SUNY Press, 2007); Laura Theresa Copier, Preposterous Revelations: Visions of Apocalypse and Martyrdom in Hollywood Cinema, 1980–2000, The Bible in the Modern World, 39 (Shef field: Shef field Phoenix Press, 2012). 2 As testimony to the inf luence of Iron Maiden’s Number of the Beast, one finds on the Encyclopedia Metallum ( [accessed 31 October 2012]) three bands with the name ‘666’, and a further eighty-two which feature the number in their name; fourteen bands are called ‘Apocalypse’, with a further twenty-nine including the word in...
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