Search for Transcendent in Science Fiction and Apocalyptic Films
| dc.contributor.author | Şahin, Osman | |
| dc.date.accessioned | 2024-08-04T19:54:32Z | |
| dc.date.available | 2024-08-04T19:54:32Z | |
| dc.date.issued | 2023 | |
| dc.department | İnönü Üniversitesi | en_US |
| dc.description.abstract | Humanity gradually shifted away from religion and the sacred in the modern age, but in the postmodern age, people have discovered that science and reason alone cannot satisfy them. As a result, people returned in various ways to mythology, religion, and the mystical. Cinema, one of the most popular arts of the visual age, could not possibly ignore this move. Religious themes and elements are prevalent in films. Humanity has lost confidence in metanarratives thanks to postmodernism, and is shown to be on a different quest for meaning, particularly in science fiction and apocalyptic/post-apocalyptic films. In many films, this quest evolves into a quest for the transcendent. People contemplate the beginning and the end; they speculate about their origins and their future directions. Postmodern viewers are drawn to the holy, mystical, mythological, and transcendental quests offered in movie theaters. As a result, the film business, which is capitalist in nature, uses this tactic to produce stories that are transcendental, sacred, mythological, mystical, magical, supernatural, and, generally speaking, religious. This essay explores the attempt of postmodern man to use cinema to re-enchant the demystified universe. The postmodern man is tired of extreme rationalism and is on a philosophical quest. The study analyzes five science fiction movies, which are also referred to as apocalyptic movies. These are Avatar (2009), Interstellar (2014), Prometheus (2012), War of the Worlds (2005), and I Am Legend (2007). The article argues that in these movies, post-modern man’s quest for meaning is addressed with some sort of transcendence, his modern identity is developed into a postmodern one, or a postmodern identity is brought forth, and his worries about the end are mostly appeased with a postmodern uncertainty. | en_US |
| dc.identifier.doi | 10.31122/sinefilozofi.1231327 | |
| dc.identifier.endpage | 90 | en_US |
| dc.identifier.issn | 2547-9458 | |
| dc.identifier.issue | 15 | en_US |
| dc.identifier.startpage | 52 | en_US |
| dc.identifier.trdizinid | 1183585 | en_US |
| dc.identifier.uri | https://doi.org/10.31122/sinefilozofi.1231327 | |
| dc.identifier.uri | https://search.trdizin.gov.tr/yayin/detay/1183585 | |
| dc.identifier.uri | https://hdl.handle.net/11616/89896 | |
| dc.identifier.volume | 8 | en_US |
| dc.indekslendigikaynak | TR-Dizin | en_US |
| dc.language.iso | en | en_US |
| dc.relation.ispartof | SineFilozofi | en_US |
| dc.relation.publicationcategory | Makale - Ulusal Hakemli Dergi - Kurum Öğretim Elemanı | en_US |
| dc.rights | info:eu-repo/semantics/openAccess | en_US |
| dc.title | Search for Transcendent in Science Fiction and Apocalyptic Films | en_US |
| dc.type | Article | en_US |
