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Apocalypse-Cinema2012 and Other Ends of the World$
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Peter Szendy

Print publication date: 2015

Print ISBN-13: 9780823264803

Published to Fordham Scholarship Online: January 2016

DOI: 10.5422/fordham/9780823264803.001.0001

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Sunshine, or The Black-and-White Radiography

Sunshine, or The Black-and-White Radiography

Chapter:
(p.69) Chapter 9 Sunshine, or The Black-and-White Radiography
Source:
Apocalypse-Cinema
Author(s):

Peter Szendy

Publisher:
Fordham University Press
DOI:10.5422/fordham/9780823264803.003.0009

This chapter considers Danny Boyle's Sunshine (2004) as well as other films where the apocalypse is depicted as white. The moment of radiographic or heliographic blinding is conjugated into all possible tones, oscillating between the extremes of documentary realism and futurist fiction. The apocalypse is white at the end of Melancholia (Lars von Trier, 2011), in the dazzling instant of the collision properly speaking, before the mute, black screen on which it all concludes. It is yet again in Abel Ferrara's 4:44 Last Day on Earth (2012), where the intertwined bodies of Cisco (Willem Dafoe) and Skye (Shanyn Leigh) dissolve into brightness. In the whiteness of the holocaust, it might be said that nuclear war has not taken place; it is a speculation, an invention in the sense of a fable or an invention to be invented.

Keywords:   Danny Boyle, Sunshine, white, apocalypse-cinema, apocalyptic film, apocalyptic genre, nuclear holocaust

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