In The Sense of an Ending, Frank Kermode reminds us that ‘[f]ictions, notably the fiction of apocalypse, turn easily into myths; people will live by that which was designed only to know by’. When the hermeneutic function of contemporary apocalyptic narratives is recovered, they can be interrogated to reveal the contemporary social, political, and environmental contexts that give rise to ideas of a 21st-century apocalypse. Engaging students in critical thinking about apocalypse through the study of contemporary movies produces an understanding of how our popular entertainments document and re-imagine real-world concerns. Historicizing and deconstructing narratives of 21st-century apocalypse also fosters students’ historical self-awareness and sense of agency, opening dialogue on how we can co-create more equitable and sustainable systems for living in and through the complex now. Articulating the cultural power of apocalypse cinema as both ‘structure of feeling’ and ‘framework of intelligibility’, this chapter outlines three interlocking strategies for apocalypse cinema and/as transformative pedagogy: developing media literacy skills, fostering an awareness of living history, and taking zombies seriously.
Irena Barbara Kalla, Patrycja Poniatowska and Dorota Michułka
enmeshed in shifting interplays of social, political, economic and personal factors and affordances (group identifications, individual self-concepts, media literacy, ideological loyalties, access issues, etc.) that what might seem obvious binaries defy any simple dichotomisation and tend to group and re
begin with individual persons, but as soon as he begins to record and publish these observations in conjunction with other similar observations, media literacy and the knowledge of human nature go hand-in-hand: being a Menschenbeobachter [‘observer of humans’] entails being a Medienbeobachter
and Writing Awards ceremony at Carnegie Hall, where his Poe video clip had its premiere in 2012 ( mc Lars “Flow”), and a cooperation with the media scholar Henry Jenkins on a project in which new media literacies were applied in teaching American literature to teenagers (Kelly et al. 29–30). Still
-related aspects of socio-cultural and media literacy (e.g. Livingstone and Haddon), to advantages offered by new media as a tool for literacy education (e.g. Manresa and Real), to distinct attributes of digital picture books (e.g. Al-Yaqout and Nikolajeva; Yokota), and to significant opportunities offered by new