"There is evil there that does not sleep": The construction of evil in American popular cinema from 1989 to 2002

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dc.contributor.authorBather, Neil Edwarden_NZ
dc.date.accessioned2007-01-25T10:58:14Z
dc.date.available2007-03-06T15:13:02Z
dc.date.issued2007en_NZ
dc.description.abstractIn The Lord of the Rings: The Fellowship of the Ring, Boromir refers to the lands of Mordor as the place where evil never sleeps. Cinematic evil itself never sleeps, always arising in new forms, to the extent that there exist as many types of evil as there are films. This thesis examines this constantly shifting construction of evil in American popular cinema between 1989 and 2002 - roughly, the period between the fall of the Berlin Wall and the attack on the World Trade Center - and how this cinema engaged with representations of enemies and of evil per se. The thesis uses content and thematic analysis on a sample of the 201 most successful films at the U.S. box office during the period. In these films, cinematic evil is constructed according to a visual aesthetic that attempts to engage with societal values, but fails to do so due to the emphasis on its visual construction and its commodification. As Baudrillard argues, evil has become a hollow concept devoid of meaning, and this is especially so for cinematic evil. It is recognised, and is recognisable, by the visual excessiveness of its violence (or potentiality for violence), and by certain codes that are created in reference to intertextual patterns and in relationship to discourses of paranoia and malaise. But cinema in this period failed to engage with the concept of evil itself in any meaningful way. Cinematic evil mirrors the descent into the chaos and disorder of a postmodern society. All cinematic evil can do is to connect with this sense of unease in which the 'reality of evil' cannot be represented. Instead, it draws on earlier icons and narratives of evil in a conflation of narrative and spectacle that produces a cinema of nostalgia. Moreover, stripped of narrative causality, these films express a belief, unproved and unprovable, that evil things and evil people may arise in any form, in any place and at any time: a cinema of paranoia. Together, these factors produce a cinema of malaise, perpetually confronting an evil it is unable to define or locate.en_NZ
dc.format.mimetypeapplication/pdf
dc.identifier.citationBather, N. E. (2007). ‘There is evil there that does not sleep’: The construction of evil in American popular cinema from 1989 to 2002 (Thesis, Doctor of Philosophy (PhD)). The University of Waikato, Hamilton, New Zealand. Retrieved from https://hdl.handle.net/10289/2564en
dc.identifier.urihttps://hdl.handle.net/10289/2564
dc.language.isoen
dc.publisherThe University of Waikatoen_NZ
dc.rightsAll items in Research Commons are provided for private study and research purposes and are protected by copyright with all rights reserved unless otherwise indicated.
dc.subjectHollywood cinemaen_NZ
dc.subjectfilmen_NZ
dc.subjectevilen_NZ
dc.subjectHollywooden_NZ
dc.subjectfilm industryen_NZ
dc.subjectcommercial cinemaen_NZ
dc.subjectcommercial filmen_NZ
dc.subjectevil in filmen_NZ
dc.subjectevil in cinemaen_NZ
dc.title"There is evil there that does not sleep": The construction of evil in American popular cinema from 1989 to 2002en_NZ
dc.typeThesisen_NZ
pubs.place-of-publicationHamilton, New Zealanden_NZ
thesis.degree.disciplineScreen and Media Studiesen_NZ
thesis.degree.grantorUniversity of Waikatoen_NZ
thesis.degree.levelDoctoral
thesis.degree.nameDoctor of Philosophy (PhD)en_NZ
uow.date.accession2007-01-25T10:58:14Zen_NZ
uow.date.available2007-03-06T15:13:02Zen_NZ
uow.date.migrated2009-06-14T21:23:31Zen_NZ
uow.identifier.adthttp://adt.waikato.ac.nz/public/adt-uow20070125.105814en_NZ
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