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Apocalypse Movies: End of the World Cinema Paperback – January 1, 2002
- Print length272 pages
- LanguageEnglish
- PublisherSt Martins Pr
- Publication dateJanuary 1, 2002
- Dimensions6.25 x 0.75 x 9.5 inches
- ISBN-100312253699
- ISBN-13978-0312253691
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Product details
- Publisher : St Martins Pr; First Edition (January 1, 2002)
- Language : English
- Paperback : 272 pages
- ISBN-10 : 0312253699
- ISBN-13 : 978-0312253691
- Item Weight : 14.1 ounces
- Dimensions : 6.25 x 0.75 x 9.5 inches
- Best Sellers Rank: #2,280,823 in Books (See Top 100 in Books)
- #24,309 in Performing Arts (Books)
- #29,241 in Movies (Books)
- Customer Reviews:
About the author

Kim Newman is a London-based author and movie critic. With over 25 years of experience, he writes regularly for Empire Magazine and contributes to The Guardian, The Times, Sight & Sound and others. He makes frequent appearances on radio and TV and has popular lines in horror. He has won the Bram Stoker, International Horror Guild, British Fantasy and British Science Fiction Awards and been nominated for the Hugo and World Fantasy Award.
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When I saw this book on shelf, couldn't believe it. Couldn't believe the author.
Newman has also contributed to some of the Overlook Encyclopedias of Film.
In short: Vivid, intelligently critical, perhaps best book ever written on the subject.
Film history is all about choices. Newman's concise, no-bones prose keeps you humming through the book, all the way from the post-WWII 'bomber command' cycle of American war films through the 'asteroid-threatens-the- earth' cycle of the late 1990s (even an aside to last year's 'Arlington Road.')
Special treats: two chapters devoted to the now classic fifties cyles 'Monsters & Mutants,' and 'Norms vs. Mutates.'
The common thread, from post-1945 on, is The Bomb, and as Newman's sublime thesis suggests, ALL MOVIES post WWII have had to acknowledge the reality of the nuclear genie in some way.
Most insightful chapters: 'Learning to Love the Bomb,' focusing on sci-fi films during mid-sixties, early-seventies detente' and 'There ain't no Sedalia!' examines the last major burst of made-for-TV nuclear war movies in the mid-(Reagan)eighties.
Newman's critical eye, sharp prose turns this into a landmark book of film scholarship.
Film buffs: buy it, read it, read it again.
I would highly recommend this book to anyone interested in post-nuclear or disaster/apocalpse movies either for fun, research, or learning. The lists of movies, let alone the discussion of them, make this book worth every penny.







