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Even when the source material is biblical, the films don’t stay close to their texts. These films differ from the historical epic or the sword-and-sandal film primarily by their total disinterest in telling a “true” story from history. These are the Ancient Apocalypse films, and they have opened up whole cinematic territories for a far-right theory of terminal crisis to play in. You’ve probably seen one: 300, Noah, Gladiator, The Croods, Centurion, etc.
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These films span a number of generic registers, from animated kid’s movie to big-budget summer production. These movies give voice to the blind hatred of the disgruntled agents of collapsing empire. It uses the trope of apocalypse to project current power into the future by situating catastrophe and its overcoming in the past. But while every single hair on the rotting scalp of zombie cinema has been analyzed under bloodstained microscopes, a new subgenre has been emerging that wields the potent thought of the end of the world to even more reactionary ends. Accordingly, the apocalypse seems to show up on film only in the realm of sci-fi or, occasionally horror. When we think apocalypse, we tend to think of the future. Richard Prince, Untitled (Publicity), 2001 (detail)Īncient Apocalypse films use the past to project a reactionary present into the future.