A Spectacular Catastrophe

When Dushka Zapata comes across any perspective in life that she finds useful or that contributes to her suffering less, she writes about it. This book is a collection of those lessons she hopes prove useful to others. This book is not intended to be read cover to cover but rather in snippets of time across the day.

From epidemics in the 17th century and the Lisbon earthquake in 1755 to Guernica in World War II, the essays in this volume trace the development of the catastrophic imagination, relying heavily on pictorial media and different forms of staging. Catastrophe in its modern sense seems to be inextricably linked to its spectacular representation, be it on the stage, on screen or in popular amusement parks. But the modern relationship between catastrophe and spectacle is also increasingly confronting us with the unimaginable side of catastrophe, particularly with regard to the Holocaust and in more recent times to the daily experience of refugees. The essays in this volume elucidate images of the catastrophes that have inspired them by providing a textual commentary that makes it possible to reconsider how the spectacular and the catastrophic are interrelated. Thus, the essays not only deal with the emergence of the modern spectacular imagination of catastrophe in terms of the history of both discourse and media, they also present themselves as a critique of catastrophe, one based on close readings of the scenes and images in question.

Horrified, saddened, and angered: That was the American people’s reaction to the 9/11 attacks, Hurricane Katrina, the Virginia Tech shootings, and the 2008 financial crisis. In Consuming Catastrophe, Timothy Recuber presents a unique and provocative look at how these four very different disasters took a similar path through public consciousness. He explores the myriad ways we engage with and negotiate our feelings about disasters and tragedies—from omnipresent media broadcasts to relief fund efforts and promises to “Never Forget.” Recuber explains how a specific and “real” kind of emotional connection to the victims becomes a crucial element in the creation, use, and consumption of mass mediation of disasters. He links this to the concept of “empathetic hedonism,” or the desire to understand or feel the suffering of others. The ineffability of disasters makes them a spectacular and emotional force in contemporary American culture. Consuming Catastrophe provides a lively analysis of the themes and meanings of tragedy and the emotions it engenders in the representation, mediation and consumption of disasters.

Crucial insights into how to make society safer are offered in this penetrating reassessment of the very real dangers society faces today and what must be done to confront them.

Cinematic Encounters with Disaster takes Hollywood's disaster movies and their codified versions of natural disaster, post-apocalyptic survival, and extra-terrestrial threat as the starting point for an analytical trajectory that works toward new understandings of how cinema shapes and informs our conceptions of disaster and catastrophe. It examines a range of films from distinct regional and industrial contexts: Hollywood, indie movies, different kinds of documentaries from the US and elsewhere, and auteurist-realist cinema from Europe and Asia. Moving across and beyond critical and industrial categories that often inform thinking about cinema, this book contends that different approaches to film style can push us to imagine disaster in distinct ways, with distinct ethical connotations. Framed by contemporary concerns around the global climate crisis and the advent of the Anthropocene, questions about how films can best offer responses to historical exigency guide the book's explorations of spectacular 2010s blockbusters like Gravity (2013) and San Andreas (2015), environmental documentaries including the paradigmatic An Inconvenient Truth (2006), post-disaster films by auteurs including Abbas Kiarostami and Lav Diaz, and more. Conceiving of disaster as intersubjective ethics between humans and nonhuman alterity – forces of nature, errant technology, monsters, ghosts, and other entities – it analyses how formal techniques and narrative strategies render encounters in which human protagonists are confronted with the threat of death and respond in ways that can be instructive for our planet's present juncture.

“There are two problems for our species’ survival—nuclear war and environmental catastrophe, ” says Noam Chomsky in this new book on the two existential threats of our time and their points of intersection since World War II. While a nuclear strike would require action, environmental catastrophe is partially defined by willful inaction in response to human-induced climate change. Denial of the facts is only half the equation. Other contributing factors include extreme techniques for the extraction of remaining carbon deposits, the elimination of agricultural land for bio-fuel, the construction of dams, and the destruction of forests that are crucial for carbon sequestration. On the subject of current nuclear tensions, Chomsky revisits the long-established option of a nuclear-weapon-free zone (NWFZ) in the Middle East, a proposal set in motion through a joint Egyptian Iranian General Assembly resolution in 1974. Intended as a warning, Nuclear War and Environmental Catastrophe is also a reminder that talking about the unspeakable can still be done with humor, with wit and indomitable spirit.

Rising star Shauna J. Grant makes her Graphix Chapters debut with this humorous and wholesome series. Get drawn into reading with Graphix Chapters! Graphix Chapters are ideal books for beginning and newly independent readers aged 6-8. With approachable page counts, easy-to-follow paneling, and artwork that supports text comprehension, these engaging stories with unforgettable characters help children become lifelong readers. Meet Mimi. She's charming! She's cheerful! She's cute! But that's not all! She's also a loyal friend and fun playmate, who has the best adventures with Penelope, her magical toy dog. But when Mimi notices people treating her like she's too cute, can she show them that she's much more than meets the eye? Or will she be stuck in this cute-astrophe?

Recalls a July 27, 1985 trip up Yosemite's Half Dome that left two people dead of a lightning strike and others stranded on the rock, the subject of a dramatic rescue attempt.