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Apocalyptic and post-apocalyptic fiction

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Apocalyptic science fiction is a sub-genre of science fiction that is concerned with the end of civilization, through nuclear war, plague, or some other general disaster.

Post-apocalyptic science fiction is set in a world or civilization after such a disaster. The time frame may be immediately after the catastrophe, focusing on the travails or psychology of survivors, or considerably later, often including the theme that the existence of pre-catastrophe civilization has been forgotten or mythologized. Post-apocalyptic stories often take place in an agrarian, non-technological future world, or a world where only scattered elements of technology remain.

There is a considerable degree of blurring between this form of science fiction and that which deals with false utopias or dystopic societies. A work of apocalyptic or post-apocalyptic fiction might also be called a ruined Earth story, or dying Earth if the apocalypse is sufficiently dire.

Cultural views on apocalyptic fiction

For the most part, western literature and cinema on the apocalypse or in a post-apocalyptic setting tend to follow American mores, with the exception of British apocalyptic fiction. While American and Western apocalyptic and postapocalyptic fiction tend to emphasize the fantastic, with the possibility of world-ending meteor collisions, mutants, and jury-rigged vehicles roaming a desolate countryside, British fiction is more pessimistic in tone.

Post-apocalyptic literature was not as widespread in communist countries as the government prohibited depictions of the nations falling apart. However, some depictions of similar-themed science fiction did make it past government censors, such as Andrei Tarkovsky Stalker, made during Russia's Soviet era, which features the bombed-out landscape and survival-based motives of its characters and was inspired in part by the 1957 accident at the Mayak nuclear fuel reprocessing plant. Recently, Wang Lixiong's Yellow Peril was banned in the People's Republic of China because of its depiction of the collapse of the Communist Party of China, but has been widely pirated and distributed in the country.

Due to the atomic bombing of Hiroshima and Nagasaki in its modern past, Japanese popular culture is rife with apocalyptic themes. Much of Japan's manga and anime is loaded with apocalyptic imagery.Murakami, T.: Little Boy : The Arts of Japan's Exploding Subculture, Yale University Press, 2005, ISBN 0-30-010285-2

Criticism

The use of post-apocalyptic contexts in movies and the typical accompanying imagery, such as endless deserts or damaged cityscapes, clothing made of leather and animal skin, and marauding gangs of bandits, is now common and the subject of frequent parody.

The number of apocalyptic-themed B-movies in the 1980s and 1990s has been attributed to film producers on post-apocalyptic films working around their low production budgets by renting scrapyards, unused factories, and abandoned buildings, saving them the cost of constructing sets. As a result, many films that would have been rejected by major studios on the basis of script or concept ended up being made, while other stories were adapted to a post-apocalyptic setting following the success of the Mad Max series.

Some apocalyptic stories have been criticized as implausible or as scaremongering propaganda..

Examples (listed by nature of the catastrophe)

See main article: Cybernetic revolt

The decline and fall of the human race

After the fall of space-based civilization

The Sun's expansion

Religious and supernatural apocalypse (Eschatological fiction)

Various

To be categorized

References

See also

External links

 


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