Transcript Post-apocalyptic genre

Post-apocalyptic genre and narrative conventions
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The incredibly popular sub-genre of science fiction
revolves around the end of civilisation due to a various
disaster that threatens all existence on Earth.
They are set in a world or civilisation after the various
catastrophe that has a drastic effect on human life. The
time frame is different between films, however. For
example, it can be at the time of and immediately after
the disaster, or it can be far later in the future,
sometimes were existence is speculated and forgotten.
Additionally, most post-apocalyptic disasters
have man-made causes.
• Each variety of post-apocalyptic hybrid or each
individual film often acts as a metaphor to
represent or relate to the current society’s
fears and current issues or affairs.
 As ‘The Observer’, writes, “the trend towards
apocalyptic thought does not only reflect
anxiety over a difficult period of history but,
just as important, changing times.”
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Post-apocalyptic genre and narrative conventions
0 Besides focusing on the disaster itself,
these films concentrate on the effects
on individuals, families and
communities, peoples’ fights for
survival and some ‘what-if’ scenarios.
0 Roland Emmerich (‘2012’, ‘The Day
After Tomorrow’, ‘Independence Day’)
in particular, concentrates on the
impacts of disasters on people, as he
has explained in many interviews. Even
‘IMDb’ states that he often uses fatherson relationships frequently in his
films.
Post-apocalyptic genre and narrative conventions
0 Although the type of the film can be
very different, most of them feature a
moral or a message.
0 As Shane Acker (director of animated
post-apocalyptic film: ‘9’) states “The
best post-apocalyptic films contain a
serious warning about where we’re
heading if we don’t slow down and
pay attention.”
0 They are often characterised by
expensive use of CGI and special
effects, although not always, (‘28 Days
Later’ is an example of a less
expensive yet high quality postapocalyptic film).
Post-apocalyptic genre and narrative conventions
0 They are often set in Dystopian worlds,
where everything is in an unpleasant,
wretched state. The setting may also
have been the opposite before the
disaster, as a Utopian site. For example,
the use of New York City in ‘I Am Legend’.
0 In many post-apocalyptic films,
commonly post-nuclear, agrarian
societies develop, where human life
returns to pre-industrialised civilisation,
where technology is either lost or
forgotten in the majority, accounting for
medical supplies and other resources.
Weapons, however, often seem to remain.
Post-apocalyptic genre and narrative conventions
0 Agricultural existence subsequently reoccurs, although in some settings plants
and therefore food does not grow and is
scarce to come by.
0 They can have localised or global
implications, for example, ‘Cloverfield’ is
based in New York alone, whereas, ‘2012’
has dramatic consequences worldwide.
0 Whatever type of post-apocalyptic film,
there is usually a sense of finality of the
current generation, but sometimes, also a
sense of a new beginning and that
somehow, some people, or life survived or
was preserved.
Generic Conventions- Case Study
‘I Am Legend’, 2007
0 It is set in a haunting New York City, usually a hustling
global enterprise, now a deserted dystopian wasteland.
0 The audience is initially left in limbo as to whether the
situation is the same globally or just in New York, until
Neville explains the population drop.
0 Robert Neville and his dog search each apartment in
the city each day as food is scarce to obtain ‘naturally’.
0 Neville says to Anna, “God didn’t do this. We did.” This
highlights humanity’s continuous attempts to ‘play God’
by making technological and medical ‘advancements’.
0 The film finishes climatically, with Neville finding a cure
for the virus, and although he sacrifices himself to
protect it, Anna and Ethan give the compound to
authorities at a safe-zone, giving the audience hope for
the continued survival of mankind.
Generic Conventions- Case Study
‘The Day After Tomorrow’, 2004
0 The film depicts the events of a sudden climate change,
leading to dangerous hazards worldwide (tornadoes,
tsunamis, ‘super-storms’).
0 It relates to the contemporary issue of mankind
mistreating natural resources and the environment,
which is leading to climate change and global warming.
0 It is set all over the globe (New York, Tokyo, New Dehli,
Scotland), therefore having an effect on the audience
showing that nobody is safe from the theme, and
conveying the message that we all have to do
something to prevent it happening.
0 The final message of hope for human survival is given
as the astronauts look upon a clear atmosphere on
Earth, in addition to several more groups being located
on top of buildings in New York having survived the
hazards.
Generic Conventions- Case Study
‘The Road’, 2009
0 The film is about a father and son trekking across a
dystopian American landscape to get to the coast,
which is safe from the murderers who stalk the road.
0 No disaster is defined to the audience, it takes the form
of a mixture of nuclear fallout and natural disasters.
This ambiguity has an effect on the audience as it
shows we need to change the way we use technology
and how we live our lives generally, as we are
contributing to the slow descent to destruction one
way or another.
0 The positivity at the end is conveyed with the boy
beginning a journey with another family after his father
dies; in addition, some organic life appears to have
survived the disaster (the use of a dog and insects),
giving us hope for humanity’s survival.
Generic Conventions- Comparison
0 Although some of the hazards are directly environmental,
all of the disasters are caused by the acts of people. ‘I Am
Legend’ revolves around a virus produced by people
‘playing God’ by continually developing technology and
medicinal products. ‘The Road’ is ambiguous as it could be
a nuclear fallout or a drastic result of climate change,
either way, both would be due to human actions (or lack
of). ‘The Day…’ is clearly climate change, and revolves
around the lack of human effort to counter the effects of it.
0 Consequently, these post-apocalyptic films, and all other in
general spread a message of warning to the audience about
the way in which they live their lives.
0 A distinct feeling of hope is displayed in the climax of the
films. ‘I Am Legend’ ends with the discovery of a survivors’
colony, to which Anna hands the cure for the virus. ‘The
Road’ concludes with the boy being found by a new family,
while some other animal and plant life has appeared to
survive the disaster. Lastly, ‘The Day…’ finishes with the
atmosphere clearing and the appearances of small groups
of survivors appearing to be rescued on top of buildings
across New York.
History of Post-Apocalyptic Films
0 Between the 1920’s and 1950’s, this
genre of film originated, firstly in the
form of action adventure-disaster films
like ‘The Hurricane’ (1937).
0 The horrors of World War II, the threat
of nuclear annihilation and radioactive
mutancy during the resultant Cold War
led to many disaster/ post-apocalyptic
films in the 1950’s. These included
‘The War of the Worlds’ (1953),
‘Them!’ (1954) and ‘The Day the Earth
Stood Still’ (1951) and ‘Day the World
Ended’ (1956).
History of Post-Apocalyptic Films
0 The major era of post-apocalyptic and
disaster films was the 1970’s as a variety
of actual disasters occurred in and
around this time period. They
consequently acted as inspirations for
films like ‘Invasion of the Body Snatchers
(1978), ‘The Omega Man’ (1971),
‘Airport’ (1970) and ‘The Crazies’ (1973).
0 After only a few post-apocalyptic films
were made in the 80’s, albeit notable
ones, there was a resurgence in the genre
between the 1990’s to current day. This
comes at a time of multiple fears in
society, opening up new doors for the
basis of post-apocalyptic films. These
include ‘The Day After Tomorrow’
(2004), ‘I am Legend’ (2007) and
‘Prometheus’ (2012).
Types of post-apocalyptic films
• Environmental/ Natural- ‘2012’, ‘The Day After Tomorrow’,
‘Armageddon’
-these revolve around natural hazards such as (super)volcanoes,
earthquakes, tsunamis and asteroids. They often convey a message
of danger that people are causing the planet’s destruction via
climate change through excessive and dangerous use of technology.
These films normally have global implications, to maximise the
effect of the message on the audience.
• Aliens (invasion)/monsters/extra-terrestrial- ‘Aliens’, ‘War
of the Worlds’, ‘Cloverfield’
-usually these are blockbusters and revolve around an alien
invasion of Earth, leading to humanity’s destruction, although
some occur outside of Earth, although effectively, the protagonists
fight for theirs, and subsequently humanity’s survival. These films
also relate to mankind’s increased use of technology and
willingness to investigate what we do not fully understand. There is
no certainty as to what we might discover in the universe.
Types of post-apocalyptic films
• Virus/Infection, zombie related- ‘I Am Legend’, ‘28 Days Later’, ’28
Weeks Later’
-these often take place after the original infection, so the audience does not
see the havoc in its prime, nevertheless, short scenes or shots, flashbacks or
footage often show what the disaster began from. Subsequently, they
normally focus on a small group of civilisation fighting to survive the
apocalypse. These situations often push characters to the edge of their
mental and physical capacity to continue living. The use of emptied,
typically-hustling bustling cities make them more harrowing. While the
setting is often localised, the infection can easily spread worldwide, while
sometimes we do not know how far it has spread.
• Nuclear related crises or wars- ‘Watchmen’, ‘Unthinkable’, ‘Mad
Max 2’, ‘Terminator series’, ‘The Book of Eli’
-these films relate to society’s possibly greatest fear of nuclear fallout,
sparking from World War II, continuing through the Cold War, and
nowadays, many countries are working to produce them as a deterrent and
protection of their nations. These films often focus on small communities due
to much of the population being killed by the fallout. Further conflict usually
arises in these communities for resources as well as how they should live in
these difficult times. They are mostly set worldwide, again, to maximise the
impact of the message of warning.
Types of post-apocalyptic films
• Technology failing, mechanical accident, terrorism‘Terminator series’, ‘World Trade Centre’
-Technology often comes into the war or nuclear fallout category
too, but post-apocalyptic films can make technology the real
enemy, as it can with the environment (e.g. ‘2012’). Meanwhile,
although they are not strictly post-apocalyptic, some accidents or
terrorist acts have global consequences such as in ‘World Trade
Centre’, as this subsequently caused the war on terror, and could
eventually result in a disaster in the Middle-East.
• Some post-apocalyptic films are not specified to one type. For
example, ‘The Road’ does not define what disaster has struck
(nuclear or environmental), so this can have an effect on the
audience as they realise that they need to change the ways
they live their lives; do not go to war, protect the environment,
and be cautious with technology.
Character Conventions
0 Typically, the main protagonist is
male, although there are some
exceptions, such as Ellen Ripley in the
‘Alien’ movies.
0 Often, the main protagonist acts as a
‘post-modern cowboy’ (Dr Eric
Dodson), as they are a loner who is
pushed into action- he has no choice
but to confront the disaster.
0 Shane Acker writes that there is also a
presence of the spirit of ‘MacGyver’,
the hero that can create astonishing
technological marvels of whatever
materials he can find.
Character Conventions
0 The main protagonist is usually one of a
few good people, but is flawed in some
way.
0 The main protagonist is also often
characterised as being resourceful,
creative, courageous, intelligent,
physically and mentally strong and
determined to succeed and survive the
ordeal of the disaster and its effects.
0 The post-apocalyptic world holds
constant threats for the protagonist to
battle against to survive, in all types of the
genre. This could be natural hazards,
aliens, violent groups of survivors and
infected or mutated people or beings.
Therefore, the protagonist often takes
part in a series of fights (physically, with
and without weapons, and intellectually)
and chases away from the enemy or
hazard.
Character Conventions
0 Shane Acker also writes that
characters also form groups and/or
small communities in many postapocalyptic films as the audience can
see that although individually we may
not be skilled or strong, “together is
when we can really do the best work
and try to overcome the dangers of this
world.” It also hints at survival after the
disaster, and may act as a metaphor for
what the audience needs to do to
counter humanity’s modern ways of
life, like causing climate change and
wars for example.
0 At least one child is often involved, and
is considered motivation for the
protector or protagonist to continue
fighting for. The child is also a symbol
or survival and a new beginning.
Character Conventions
0 The group the protagonist becomes involved in
is usually a small but tight-knit community.
The people within it can vary, however, from
family members to complete strangers. From
film to film, the protagonist can be involved in
the group from the beginning, usually as a
family member or friend, or after some time of
fighting the disaster’s effects, when he finds
the group from the pre-apocalyptic modern
world in some cases, who are struggling to
survive. He will often take the lead role within
the group, and often fight to protect each
member.
0 Some groups or tribes are on the opposite side,
and are violent and anarchic, and hunt the
good, innocent group and the protagonist to
destroy them. This may be for resources or
merely because they consider them a threat.
Character Conventions- Case Study
‘I Am Legend’, 2007
0 Robert Neville – The main protagonist feel it is his
responsibility to protect civilisation from the spreading virus,
“I’m not gonna let this happen.” He is a loner with the exception
of his dog: Sam. This lack of social interaction leads him to odd
behaviour, such as using shop dummies to achieve a sense of
normality. We later question his sanity later though, when he
becomes agitated by the movement of one of them, leading him
to shoot it. His attributes fit with the typical protagonist, and he
commits suicide for the cause of the cure he creates after one
final battle against the infected.
0 Anna – Her Christian beliefs make Neville angry, as he has lost
faith in God after the death of his family at the beginning of the
spread of the infection. She also reminds us of hope, as we are
under the impression that Neville is the sole survivor.
0 Ethan – the young boy symbolises hope for human and other
organic life’s survival despite the threat of extinction posed by
the infection.
0 Sam – The dog helps Neville through the course of the film (and
the past 3 years of the disaster), and becomes his main source
of social interaction. She acts as his guardian angel too, saving
him from vicious mutant dogs, giving her own life in the
process.
Character Conventions- Case Study
‘The Day After Tomorrow’, 2004
0 Professor Jack Hall - Jack, the scientist, is the man who
discovers the consequences of climate change that are
about to occur, using information from fellow scientists
in Scotland. Later, however, he attempts to rescue his
son and any other survivors in New York. His
characteristics are typical of a hero, and represents the
fight in people to survive against all odds.
0 Sam Hall – Sam is Jack’s son, and is stranded in New
York due to the extreme weather and environmental
hazards. He helps others to survive, with the advice of
Jack, and represents hope for the future of humanity.
0 Vice-President Raymond Becker - The Vice President,
acted by Kenneth Walsh, bore a distinct resemblance to
then vice president Dick Cheney. The director, Roland
Emmerich said this was purposeful, to act as a criticism
of the environmental policies of the presidency of
George Bush.
Character Conventions- Case Study
‘The Road’, 2009
0 Man – The man acts as the guardian of the boy and
trusts no-one he encounters on the road, often with
good reason. He also acts as a teacher so when he is
gone, the boy will know how to survive. He is mentally
and physically strong to cope with the disaster’s effects
as well as the family’s turmoil shown in flashbacks.
0 Boy – The boy acts as a metaphor for hope and belief,
expressed by the man. “If he is not the word of God,
then God never spoke.” Furthermore, he represents
justice and morality with the kindness he exhibits, even
to, for example, the thief.
0 Eli – Eli is the only named character in the film,
although this is a fake name. He is elderly, yet has
somehow survived the disaster and the evil groups that
stalk the road, giving the audience hope for further
survival of humanity.
Character Conventions- Comparison
0 While the protagonist in ‘I Am Legend’ (Robert Neville) is
fighting to find a cure for the infected, as well as anyone
who he hopes to have survived, the man in ‘The Road’ is
solely interested in protecting his son. In ‘The Day…’, Jack
attempts to rescue his son and protect civilisation as a
whole, a mixture of the two others films.
0 Each of the protagonists are physically and mentally fit for
fighting the terrible disasters that strike their diegesis.
However, while Neville and the man use weaponry to fight
the infected and those who stalk the road, Jack has to
represent a MacGyver figure, and use what resources he
has to make them useful.
0 Nonetheless, each of them has a flaw; Neville’s loneliness
may be leading him to insanity while his social skills have
deteriorated, as have the man’s in ‘The Road’, as he trusts
nobody- he is also quick to make rash and immoral
decisions, such as robbing the thief of everything and
leaving him to die. Similarly, Jack is rash and naïve as he
risks his life firstly to save his research, and then,
understandably, his son.
Character Conventions- Comparison
0 The characters display hope and faith in differing ways.
Neville has lost belief in God due to the loss of his
family after praying for their safety, and subsequently
becomes angry at Anna’s belief. However, he still has
reason to have belief in his cure.
0 The man in ‘The Road’ appears to be religious as a
matter of hope, as he states: “If he (the boy) I not the
word of God, then God never spoke.”
0 Hope is not addressed by individual characters as much
in ‘The Day…’, but left at the end for the audience to
observe human survival, as small groups are seen on
top of buildings, having survived the disasters.
0 The child of the characters represent hope for
humanity’s future survival, as we attempt to adapt to
changing conditions which we may not be meant to
survive. Ethan in ‘I Am Legend’, the boy in ‘The Road’
and Sam, who is clearly more knowledgeable and older
but still represents this hope in ‘The Day…’.
Mise-en-scene: Case Study
‘I Am Legend’, 2007
0 Camerawork:
-POV (Associated) shots make the scenarios appear
more real and consequently more frightening to the
audience, to get an insight to Neville’s horrific
experiences.
-Establishing shots show the audience the state of
the setting and how the world has become a
Dystopian landscape.
-Some use of seemingly handheld camera to
replicate a sense of realism and therefore convey
fear, and in some cases disorientation, such as when
the explosion goes off around Neville’s house.
Mise-en-scene: Case Study
0 Editing:
-Mainly straight cuts are used to continue the
action and convey tension to the audience.
However, one notable fade is when Neville
becomes unconscious and subsequently
vulnerable to the ‘Darkseekers’ attack.
-Match on action is also used to continue the fast
paced action scenes to also convey tension. It is
additionally used in slower sequences to convey
shock, such as the opening establishing shots,
where the audience are stunned by the emptiness
of the usually hustling, bustling city of New York.
-The use of shot-reverse-shot is also used,
particularly when Anna and Ethan enter the film,
and present Neville as socially inept due to his
loneliness, and suggests an unfamiliarity in these
situations as the audience has come to forget this
form of editing for much of the film.
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Mise-en-scene: Case Study
0 Props
The lab and medical equipment used are ironic,
considering they are what caused the infection to
initiate, and Neville is now using their power to
attempt to reverse it. Also, weapons are used, as is
common in these films, to counter the danger he faces,
and juxtapose the medical equipment he is using to
find a cure.
The shop dummies reflect Neville’s attempts to create
a sense of normality about his life, but ultimately
make us question his sanity.
0 Lighting
A statement frequently used in the film is “light up the
darkness”, which albeit used as a metaphor, is what
Neville uses throughout the film. He searches each
apartment and lets the light in, to give them the
impression of safety. The audience understands that
dark is used to convey evil and danger, while light is
used to convey safety.
Mise-en-scene: Case Study
0 Setting
The film is wholly set in New York, but
implications of the disaster mean that we
think it has had worldwide consequences. It
is incredibly haunting, as we are used to
seeing New York being an incredibly busy
city, so to see it derelict is very sinister.
0 Costume, figure expression
Neville usually wears a dark jacket which
symbolises that he is haunted from his past,
and shows us he is willing to do what’s
necessary to protect his work and the people
around him.
Mise-en-scene: Case Study
‘The Day After Tomorrow’, 2004
0 Camerawork:
-Long shots, extreme long shots and
establishing shots show the catastrophic
events that affect places across the globe.
Meanwhile long shots and medium shots
follow the action that takes place throughout
the film, such as on the ship when the group
get attacked by wolves.
-Close ups are also used to show the
emotional draining the characters suffer as
the effects worsen.
Mise-en-scene: Case Study
0 Editing:
Straight cuts are mostly used to continue the
rapid pacing of the action.
Parallel editing is also used to reinforce the
size and power of the catastrophes that are
occurring, as well as demonstrate the
impacts they each have on people.
Match-on-action also often occurs in the
action sequences, as the action flows better
and is more pleasing to the audience. It also
helps the suspense flow from each scene to
the next.
http://www.youtube.com/watch?v=w_1V
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Mise-en-scene: Case Study
0 Props
The use of books, particularly in the library, are
ironic, as many writers have spoken of their
theories of climate change and natural hazards, yet
society fails to respond by changing the way they
live their lives and protecting the environment.
0 Lighting
Natural exterior light is often used to highlight the
relation to real life environmental situations.
Meanwhile, darkness often ensues buildings to
suggest there is no escape from this disaster when
it begins to occur.
Mise-en-scene: Case Study
0 Setting
The use of cities and countries all over the world
highlights the global consequences that will occur
should humanity fail to respond to the crises of global
warming, climate change and unsustainable
technology and energy resources.
0 Costume, figure expression
The sequence in New York where people are
wandering the streets in casual and smart casual wear
(suits, etc) without raincoats, let alone warm enough
clothing to protect them from the cold of the ice age
that is coming, illustrates the lack of preparation of all
people for the oncoming disasters. This creates a
disillusion in the sense that the suits and casual wear
people usually wear reflect a sense of normality, when
the oncoming disasters will change peoples’ perception
of normality, and therefore their needs such as warm
clothing. Jack, however, illustrating his intelligence
concerning climate change, is prepared for his journey
to rescue Sam.
Mise-en-scene: Case Study
‘The Road’, 2009
0 Camerawork:
-Frequent use of close ups or medium close ups
emphasise the strain mentally and physically the
man and the boy are under each passing day, as
their emotions are conveyed to the audience.
-Establishing and long shots are also frequent to
shock the audience with the dystopia that is
America. The ash, fog and general horror of the
setting is successfully conveyed to the audience.
Mise-en-scene: Case Study
0 Editing:
-Shot-reverse-shot is used frequently as the
characters continuously communicate and
teach each other, in terms of survival and
morality, in addition to being used when
they meet others on the road
-Graphic matches appear frequently as the
characters continue venturing across the
American wasteland.
-Match-on-action is mainly used in the action
sequences, such as the escape from the
house as well as the earthquake striking.
Mise-en-scene: Case Study
0 Props
The gun and limited supply of ammunition represent
the easy way out for the man and his son if
circumstances came to the worst. However, they also
represent the lack of morality in this dystopian world.
There is no trust. Most of the people the man and boy
meet are evil through nature (murderers) or
desperation (thief).
The trolley shows us how little the pair own, because
they could not take much with them on their journey as
it slows them down. It makes us think of our own
priorities if we were put in a similar situation.
0 Lighting
With the exception of, strangely, the bunker,
everywhere is very dark, emphasising the state of
dystopia that America is in. The bunker meanwhile, is
lit up to represent a safe haven, with supplies aplenty
for the man and boy.
Mise-en-scene: Case Study
0 Setting
The American landscape is usually known
for its outstanding beauty, so to see it in a
desolate way is strange and disturbing. The
fog and ash that covers everything make
every location monotonous, and appear to
make their journey even more disheartening.
0 Costume, figure expression
Having been in this world for some time, the
characters are appropriately dressed in
warm and partly camouflaged clothing, to
protect them from natural or artificial
means.
Mise-en-scene: Comparison
0 Establishing shots and long shots are used
frequently in each of the films, as the
characters in ‘The Road’ travel across an
American dystopia, while in ‘I Am Legend’,
Neville fights to survive the isolated New
York City wasteland, and the characters
across the world fight to survive the
natural disasters in ‘The Day…’.
0 Close ups are used more regularly in ‘The
Road’ and ‘I Am Legend’, as they include
fewer characters, allowing us to create
greater character development, and
observe their changing physical and
mental state as the problem progresses.
Although ‘The Day…’ still uses them, the
frequent CGI of the dramatic
environmental hazards restricts our
ability to bond with the characters, and
their emotions are followed less.
Mise-en-scene: Comparison
0 The match-on-action is critically used
along with the straight cut in these films to
continue the movies’ flow. ‘The Road’ uses
continuity editing less as it jumps from
location to location as the man and boy
continue their journey.
0 The clear presence of scientists and
doctors (through their lab coats) is ironic
considering they are part of the reason for
the disasters in ‘The Day…’ and ‘I Am
Legend’. Yet they are trying to assist the
recovery. The thick, dirty warm clothing
present in ‘The Road’ enforces the
environmental aspects of the film,
although the characters are more focused
on survival, rather than recovery.
0 Weaponry (guns) are used in ‘The Road’
and ‘I Am Legend’ either for protection or
hunting, as society has fallen into chaos.
Mise-en-scene: Comparison
0 ‘I Am Legend’ is entirely based in New
York, but hints that effects of the virus
have spread worldwide. Similarly, ‘The
Road’ and ‘The Day…’ are based across
America, and suggest or show the global
consequences of the hazards that
originally caused the disaster.
0 The darkness used in each film conveys
the loneliness and isolation of the
characters from modern day society. It is
also used in ‘I Am Legend’ to convey the
danger that is present (the vampiristic
infected). Brighter light used in each film
seems to convey a sense of safety for the
characters within it.