CHAIRE LOUISE

Disaster Films

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Godzilla (1954), Deep Impact (1998), Artificial Intelligence (2001), The Day After Tomorrow (2004), 2012 (2009), the disaster genre has long been a staple in film and television as a means of exploring societal fears and anxieties. From nuclear (The Day the Earth Stood Still)  to the Y2K panic (I, Robot), viewers have long been captivated by the possibility of a catastrophic event. However, as time progresses and new global threats emerge, the genre has evolved, acting as both a reactionary and reflective medium for our societal concerns.10 In my research, I seek to delve into the complexities of the disaster genre, exploring its thematic filmic conditions in order to identify new forms of disaster depictions on screen. One of the key aspects of my research is the focus on depictions of disaster that may act as an antidote to the habitual world's end scenarios that are commonly portrayed in the genre. While catharsis is an important part of our viewing experience, there are significant problems with the frequent apocalyptic depictions we see on screen. These films often fail to address contemporary realities, such as climate change, which disproportionately affects marginalised groups. It is important to recognise the nuanced experiences of disaster faced by people of colour, low-income nations, working-class people, vulnerable communities living on coastal lands, as well as children and young people.

 

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