By Kirsten Moana Thompson
The ability and presence of dread in fresh American cinema.
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Extra resources for Apocalyptic Dread: American Film at the Turn of the Millennium
Combining class resentment with apocalyptic urgency, Scorsese’s Max Cady is horrifying in his hubristic grandiosity. Bearer of the punishments of Judgement Day, Cady embodies the law of dreadful revenge. If the horror of rape, mutilation, and violent death is the obvious threat that Cady bears, the parallels that connect him to his alter ego, the self-righteous lawyer Samuel Bowden, link horror to theology in an ethical interrogation of justice and law, crime and punishment. Not unlike an Ibsen play for the nineties, this portrait of a ﬂawed white middle-class nuclear family critiques the ideological complacency proffered by J.
My turn to Kierkegaard is partly prompted by the contradictions presented by a secular, modern, knowledge-based society in which millennial and apocalyptic beliefs not only have a continuing presence in American culture, but indeed have proliferated in recent decades. Anxiety about the future and about the radical implications of free will in contemporary society lead us to Kierkegaard, because his theorizations about the paradoxical and ambivalent dimensions of anxiety (dread) suggest that the implications of knowledge and freedom of choice are not just liberating, but also deeply terrifying.
Spends thirteen years in jail. Mother witnesses death of dog. Director: J. Lee Thompson Screenplay: James R. Webb Author: John D. MacDonald No houseboat. 1. Principal Differences between Book and Films Bowden strikes Cady with a rock, but he dies by drowning. Family all on houseboat. Mother witnesses death of dog. Cady is betrayed by his attorney’s malfeasance. Cady is raped in prison. Cady rapes and mutilates Lori Davis, Bowden’s lover. Cady murders Detective Kersek and Graciela, the family maid.
Apocalyptic Dread: American Film at the Turn of the Millennium by Kirsten Moana Thompson