Representations of apocalyptic themes and motifs in popular culture has a long history, and a number of books and edited collections have examined their influence on popular film and music. Small Screen Revelations shifts the attention to popular television, examining the ways in which contemporary television drama and news draw on both the language and imagery of apocalyptic texts. Essays in the collection examine topics such as the representation of apocalyptic prophecies and prophets in television news and documentaries; how news of natural disasters draws on apocalyptic language to frame the events, and how drama series use, develop and sometimes seek to subvert apocalyptic motifs. Thus, Small Screen Revelations offers a repositioning of the importance of television in representing the apocalypse, while providing a pertinent addition to the examination of how and for what purpose the apocalypse is used in popular culture.

This book is a comparative quantitative analysis of the administration of justice across four English and three Welsh counties between 1760 and 1830. Drawing on a dataset of over 22,000 indictments, the book explores the similarities and differences between how the so-called Bloody Code was administered between, on the one hand, England and Wales, and, on the other, individual English and Welsh counties. The book is structured in two sections that trace the criminal justice process in England and Wales respectively. The first chapter in each section examines the pattern of indictments in the respective counties, and explores the crimes for which men and women were indicted, the verdicts handed down, and the sentences passed. The second chapter then explores patterns of sentences of death, executions and pardons for those capitally convicted of serious crimes against the person and forms of property offences.

In the last decades, writers and directors have increasingly found the Book of Revelation a fitting cinematic muse for an age beset by possibilities of world destruction. Many apocalyptic films stay remarkably close to the idea of apocalypse as a revelation about the future, often quoting or using imagery from Revelation, as well as its Old Testament antecedents in Daniel, Ezekiel, and Isaiah. The apocalyptic paradigm often instigates social criticism. Kim Paffenroth examines how zombie films deploy apocalyptic language and motifs to critique oppressive values within American culture. Lee Quinby shows how Richard Kelly's Southland Tales critiques not only social and economic crises in the USA but also Revelation's depictions of Good versus Evil as absolute oppositions. Frances Flannery points out how Josh Whedon's Serenity deconstructs the apocalypse precisely by using elements of it, depicting humans as their own created monsters. Jon Stone notes how apocalyptic fictions, while presenting nightmare scenarios, are invariably optimistic, with human ingenuity effectively responding to potential disasters. Mary Ann Beavis examines the device of invented scriptures (pseudapocrypha), deployed as a narrative trope for holding back the final cataclysm. John Walliss studies evangelical Christian films that depict how the endtime scenario will unfold, so articulating and even redefining a sense of evangelical identity. Richard Walsh analyses the surreptitious sanctification of empire that occurs in both Revelation and End of Days under the cover of a blatant struggle with another 'evil' empire. Greg Garrett examines how the eschatological figure of 'The Son of Man' is presented in the Matrix trilogy, the Terminator tetralogy, and Signs. Elizabeth Rosen shows how a postmodern apocalyptic trend has been working its way into children's fiction and film such as The Transformers, challenging the traditionally rigid depictions of good and evil found in many children's stories. This is the first volume in a forthcoming series of 6 titles on The Apocalypse and Popular Culture.

Religion is controversial and challenging. Whilst religious forces are powerful in numerous societies, they have little or no significance for wide swaths of public or private life in other places. The task of theoretical work in the sociology of religion is, therefore, to make sense of this apparently paradoxical situation in which religion is simultaneously significant and insignificant. The chapters of Part One consider the classical roots of ideas about religion that dominated sociological ways of thinking about it for most of the twentieth century. Each chapter offers sound reasons for continuing to find theoretical inspiration and challenge in the sociological classics whilst also seeking ways of enhancing and extending their relevance to religion today. Part Two contains chapters that open up fresh perspectives on aspects of modern, post-modern and ultra-modern religion without necessarily ignoring the classical legacy. The chapters of Part Three chart new directions for the sociological analysis of religion by fundamentally re-thinking its theoretical basis, by extending its disciplinary boundaries and by examining previously overlooked topics.

This title was first published in 2002. Drawing on primary research on the Brahma Kumaris World Spiritual University, a millenarian New Religious Movement of Indian origin, this book examines the status of tradition in the contemporary world through a critical engagement with the recent social theory of Anthony Giddens on the emergence of a post-traditional society. Wallis examines both the ways in which forms of tradition not only persist but also flourish in the contemporary world and also the manner in which such traditions are drawn on and (re)created by individuals in their ongoing construction of self-identity. Illuminating some of the difficulties encountered when social theory is applied to 'the real world', this book also offers a way of theorising about the status of contemporary religiosity that does not refer directly to the notion of secularisation.

This book aims to examine several religious groups holding millenarian or apocalyptic ideologies that have been involved in violent incidents over the last twenty-five years: Peoples Temple, The Branch Davidians, The Order of the Solar Temple, Heaven's Gate, Aum Shinrikyo, and the Movement for the Restoration of the Ten Commandments of God. The work focuses particularly on their respective 'apocalyptic trajectories' - the key recurring issues and social processes that fostered the progressive acceptance of violence within each group's ideology, and ultimately helped to precipitate the use of force against the group's own members or against outsiders.

For centuries, the apocalypse has been a recurrent theme within art, literature, music, and - more recently - cinema. Within the context of contemporary popular culture, its influence may be felt in areas as diverse as extreme metal music, disaster movies, anime and manga, Science Fiction dystopianism and the Left Behind series of novels. The aim of this collection of essays is to examine the influence of apocalyptic texts on popular cultural products, focusing on the timelessness and malleability of their themes to audiences. Chapters focus on the influence of such texts within the areas of film, music, literature, the internet, art, and science and technology.

For centuries, the apocalypse has been a recurrent theme within art, literature, music, and - more recently - cinema. Within the context of contemporary popular culture, its influence may be felt in areas as diverse as extreme metal music, disaster movies, anime and manga, Science Fiction dystopianism and the Left Behind series of novels. The aim of this collection of essays is to examine the influence of apocalyptic texts on popular cultural products, focusing on the timelessness and malleability of their themes to audiences. Chapters focus on the influence of such texts within the areas of film, music, literature, the internet, art, and science and technology.

Religion is controversial and challenging. Whilst religious forces are powerful in numerous societies, they have little or no significance for wide swaths of public or private life in other places. The task of theoretical work in the sociology of religion is, therefore, to make sense of this apparently paradoxical situation in which religion is simultaneously significant and insignificant. The chapters of Part One consider the classical roots of ideas about religion that dominated sociological ways of thinking about it for most of the twentieth century. Each chapter offers sound reasons for continuing to find theoretical inspiration and challenge in the sociological classics whilst also seeking ways of enhancing and extending their relevance to religion today. Part Two contains chapters that open up fresh perspectives on aspects of modern, post-modern and ultra-modern religion without necessarily ignoring the classical legacy. The chapters of Part Three chart new directions for the sociological analysis of religion by fundamentally re-thinking its theoretical basis, by extending its disciplinary boundaries and by examining previously overlooked topics.

This book is a comparative quantitative analysis of the administration of justice across four English and three Welsh counties between 1760 and 1830. Drawing on a dataset of over 22,000 indictments, the book explores the similarities and differences between how the so-called Bloody Code was administered between, on the one hand, England and Wales, and, on the other, individual English and Welsh counties. The book is structured in two sections that trace the criminal justice process in England and Wales respectively. The first chapter in each section examines the pattern of indictments in the respective counties, and explores the crimes for which men and women were indicted, the verdicts handed down, and the sentences passed. The second chapter then explores patterns of sentences of death, executions and pardons for those capitally convicted of serious crimes against the person and forms of property offences.

This is the first edited collection addressing the Saw franchise, which to date is the highest grossing horror series of all time. The films are often derided by critics as ""torture porn,"" and as just an excuse to show blood and gore. This collection of fresh essays by academic authors from Europe, America and Australia addresses the cultural, religious and philosophical themes that run through the films, covering such themes as how the franchise reflects a post-9/11 shift in US popular culture towards increasing pessimism and how it may be read as a metaphor for the subsequent ""war on terror""; how the series explores such issues as freewill and determinism; representations of the body; and a Deleuzian perspective to the franchise.