This week in The New Inquiry William Osterweil explores the recently prevalent “Ancient Apocalypse” film and TV genre. From Gladiator to Apocalypto to Noah to an endless shambling parade of zombie films, an Ancient Apocalypse doesn’t depict the literal end of the world, but situates its heroes at the end of an age, the downfall of a quasi-historical civilization. Osterweil explains:
There is a subnational social group: a tribe, city-state or family, living, if not happily, at least in stability and relative peace. That group receives a prophecy of a coming apocalypse. The prophecy proves true almost immediately, though it refers to the end of the world only insofar as it is the end of the group as currently constituted, the end of the group’s forms of life, the group’s world. This end is violent, sudden, and comes from the outside, in the form of natural disaster, foreign hordes, or rival groups with better technology—although its effects are exacerbated by internal decadence, corruption, weakness, willful ignorance, and/or betrayal.
At first blush, these apocalyptic fantasies may seem to promote conservative values. They feature strong heroic individuals who win survival or glory against all odds in the burning debris of a collapsed civilization. Continue reading Conservatism and the End of the World